investigating modernism in the arab world

Transcription

‫رد اﻟﺸﺮق‬
&
INVESTIGATING MODERNISM IN THE ARAB WORLD 1950s-’70s
١٩٧٠ ‫ وﺣﺘﻰ ﻋﺎم‬١٩٥٠ ‫ﻧﻈـﺮة ﻣﻌﻤـﻘﺔ ﻋﻠﻰ اﻟﺤﺪاﺛــﺔ ﻓﻲ اﻟﻌـﺎﻟﻢ اﻟـﻌﺮﺑﻲ ﻣﻨﺬ ﻋـﺎم‬
ISBN 978-1-907051-26-5
Published by Art Advisory Associates Ltd.
‫ﻣﺆﺳﺴﺔ ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن‬
‫ ﻣﺮﻛﺰ ﻣﺮاﻳﺎ ﻟﻠﻔﻨﻮن‬،‫اﻟﻄﺎﺑﻖ اﻟﺜﺎﻧﻲ‬
‫ﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة‬H‫ ا‬،‫ اﻟﺸﺎرﻗﺔ‬،‫اﻟﻘﺼﺒﺎء‬
Barjeel Art Foundation
Level Two, Maraya Art Centre
Al Qasba, Sharjah, UAE
www.barjeelartfoundation.org
&
MARCH 11, 2013 TO
NOVEMBER 22, 2013
٢٠١٣ ‫ ﻣﺎرس‬11
٢٠١٣ ‫ ﻧﻮﻓﻤﺒﺮ‬22
‫ر &د اﻟﺸﺮق‬
‫اﻟﻘﻴّﻤﺔ‬
‫ﻣﺎﻧﺪي ﻣﺮزﺑﺎن‬
Curator
Mandy Merzaban
‫ﻧﺠﻠﻴﺰﻳﺔ‬-‫ﻣﺤﺮرة اﻟﻠﻐﺔ ا‬
‫داﻟﻴﺎ ﻣﺮزﺑﺎن‬
English Editor
Daliah Merzaban
‫ﻣﺤﺮر اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ‬
‫إﺳﻤﺎﻋﻴﻞ اﻟﺮﻓﺎﻋﻲ‬
‫اﻟﺘﺮﺟﻤﺔ اﻟﻌﺮﺑﻴﺔ‬
‫اﺳﻜﻨﺪر ﺷﻌﺒﺎن‬
‫وﺷﺮﻳﻜﺘﻪ ﻟﻠﺨﺪﻣﺎت ا@ﻋﻼﻧﻴﺔ‬
‫اﻟﻜ ّﺘﺎب اﻟﻤﺴﺎﻫﻤﻮن‬
‫ ﻓﺎﻟﻴﺮي ﺑﺤﻴﺮي‬.‫د‬
‫ ﺑﺎﺗﺮﻳﻚ ﻛﻴﻦ‬.‫د‬
‫داﻟﻴﺎ ﻣﺮزﺑﺎن‬
‫ ﺳﻠﻮى ﻣﻘﺪادي‬.‫د‬
‫إﺳﻤﺎﻋﻴﻞ اﻟﺮﻓﺎﻋﻲ‬
‫ ﺳﺎرة روﺟﺮز‬.‫د‬
‫اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ‬
‫ﻛﺎﺑﻴﺘﺎل دي إﺳﺘﻮدﻳﻮ‬
‫ﺗﺼﻤﻴﻢ اﻟﻜﺘﺎب‬
‫وي آر ﺛﻮت ﻓﻮﻛﺲ‬
‫ﻛﻠﻴﻨﺖ ﻣﺎﻛﻠﻴﻦ و أوﻧﺎ ﻳﺎﻧﻴﺸﻴﻔﻴﺘﺶ و ﺗﻮﻟﻴﺐ ﻫﺰﺑﺮ‬
Arabic Editor
Ismail Rifai
Arabic Translation
Iskandar Shaaban
Partner Ad Services
Contributors
Valerie Beheiry, Ph.D
Patrick Kane, Ph.D
Daliah Merzaban
Salwa Mikdadi, Ph.D
Ismail Rifai
Sarah Rogers, Ph.D
Photography
Capital D Studio
Book Design
We Are Thought Fox
Clint McLean, Una Janićijević, Tulip Hazbar
2nd printing
RE: ORIENT 3
‫‪table oF‬‬
‫‪ContentS‬‬
‫ﺟﺪول اﻟﻤﺤﺘﻮﻳﺎت‬
‫‪Barjeel Art Foundation 07‬‬
‫‪naim‬‬
‫‪iSmail‬‬
‫ﻧﻌﻴــﻢ إﺳﻤــﺎﻋﻴــﻞ‬
‫‪52‬‬
‫‪adam‬‬
‫‪henein‬‬
‫آدم ﺣﻨﻴــﻦ‬
‫‪50‬‬
‫‪Kadhim‬‬
‫‪haidar‬‬
‫‪dia‬‬
‫‪a l a z z aw i‬‬
‫ﺿﻴﺎء اﻟﻌـــ ّﺰاوي‬
‫‪ragheb‬‬
‫‪aya d‬‬
‫راﻏــﺐ ﻋﻴـــﺎد‬
‫‪ChaFiC‬‬
‫‪abboud‬‬
‫ﺷﻔﻴـــﻖ ﻋﺒّـــﻮد‬
‫‪Saadi‬‬
‫‪al Kaabi‬‬
‫ﺳــﻌﺪي اﻟﻜﻌــﺒﻲ‬
‫‪haFidh‬‬
‫‪al droubi‬‬
‫ﺣـﺎﻓﻆ اﻟــﺪروﺑــﻲ‬
‫‪naSSir‬‬
‫‪Choura‬‬
‫ﻧﺼﻴــﺮ ﺷـــﻮرى‬
‫‪ahmed‬‬
‫‪CherKaoui‬‬
‫أﺣﻤـــﺪ اﻟﺸـــﺮﻗﺎوي‬
‫‪Paul‬‬
‫‪guiragoSSian‬‬
‫ﺑﻮل ﻏﻴﺮاﻏﻮﺳﻴﺎن‬
‫‪abdel Kader‬‬
‫‪guermaz‬‬
‫ﻋﺒـــﺪاﻟﻘــﺎدر ﻏــﺮﻣــﺎز‬
‫‪iSmail‬‬
‫‪Fat ta h‬‬
‫إﺳﻤــﺎﻋﻴﻞ ﻓﺘـــﺎح‬
‫ﻛﺎﻇﻢ ﺣﻴﺪر‬
‫‪46‬‬
‫‪26‬‬
‫‪24‬‬
‫‪22‬‬
‫ﻧﺒﺬة ﻋﻦ ﻣﺆﺳﺴﺔ‬
‫ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن‬
‫‪Foreword 08‬‬
‫ﻣﻘــﺪﻣـﺔ‬
‫‪Exhibition Statement 12‬‬
‫ﻛﻠﻤﺔ اﻟﻤﻌﺮض‬
‫‪Patrick Kane interviews 14‬‬
‫‪Dia Al Azzawi‬‬
‫ﺑﺎﺗﺮﻳﻚ ﻛﻴﻦ ﻳﺤﺎور ﺿﻴﺎء اﻟﻌﺰاوي‬
‫‪mohammed‬‬
‫‪Khadda‬‬
‫ﻣﺤﻤـــﺪ ﺧــﺪا‬
‫‪58‬‬
‫‪ahmed‬‬
‫‪mo u Sta Fa‬‬
‫أﺣــﻤﺪ ﻣــﺼﻄﻔــﻰ‬
‫‪66‬‬
‫‪RE: ORIENT 5‬‬
‫‪lo u ay‬‬
‫‪K ay ya l i‬‬
‫ﻟـــﺆي ﻛﻴــــﺎﻟﻲ‬
‫‪56‬‬
‫‪Fat e h‬‬
‫‪al moudarreS‬‬
‫ﻓﺎﺗﺢ اﻟﻤﺪرس‬
‫‪64‬‬
‫‪54‬‬
‫‪iSmail‬‬
‫‪a l K h ayat‬‬
‫إﺳﻤـــﺎﻋﻴــﻞ اﻟﺨﻴـــﺎط‬
‫‪62‬‬
‫‪36‬‬
‫‪42‬‬
‫‪34‬‬
‫‪40‬‬
‫‪32‬‬
‫‪38‬‬
‫ر &د اﻟـﺸــــﺮق ‪4‬‬
table oF
ContentS
(contd.)
‫ﺟﺪول اﻟﻤﺤﺘﻮﻳﺎت‬
barjeel art Foundation
(‫)ﺗﺎﺑﻊ‬
Previous
Publications
‫اﻟﻤﻄﺒﻮﻋﺎت‬
‫اﻟﺴﺎﺑﻘﺔ‬
‫ﻧﺒﺬة ﻋﻦ ﻣﺆﺳﺴﺔ ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن‬
99
abdallah
al QaSSar
‫ﻋﺒﺪ ا اﻟﻘﺼﺎر‬
68
nouri
a l raw i
‫ﻧــﻮري اﻟﺮاوي‬
80
abdul-halim
radwi
‫ﻋﺒــــﺪاﻟــﺤﻠﻴــﻢ رﺿـــــﻮي‬
72
iSSam
al Said
‫ﻋﺼــﺎم اﻟﺴﻌﻴـــﺪ‬
82
Samir
raFi
‫ﺳﻤﻴــﺮ راﻓــﻊ‬
74
ShaKir haSSan
al Said
‫ﺷﺎﻛــﺮ ﺣﺴــﻦ آل ﺳﻌﻴــﺪ‬
84
‫ اﻟﺘﻲ ﺗﺘﺨﺬ ﻣﻦ دوﻟﺔ ا@ﻣﺎرات‬،“‫ﺗﻌﺪ ”ﻣﺆﺳﺴﺔ ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن‬
‫ ﻣﺒﺎدرة ﻣﺴﺘﻘﻠﺔ ﺗﻬﺪف إﻟﻰ إدارة‬،‫اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة ﻣﻘ ّﺮا ً ﻟﻬﺎ‬
‫وﺣﻔﻆ وﻋﺮض ﻣﺠﻤﻮﻋﺔ ﻣﻘﺘﻨﻴﺎت ﺳﻠﻄﺎن ﺳﻌﻮد اﻟﻘﺎﺳﻤﻲ‬
.‫اﻟﻔﻨﻴﺔ اﻟﺸﺨﺼﻴﺔ‬
The Barjeel Art Foundation is an independent,
United Arab Emirates-based initiative established
to manage, preserve and exhibit the personal art
collection of Sultan Sooud Al Qassemi.
‫ﺗﺘﻤﺜﻞ رؤﻳــﺔ اﻟﻤﺆﺳﺴﺔ ﻓﻲ اﻟﻤﺴﺎﻫﻤﺔ ﺑﺪﻋﻢ ﺣﺮﻛﺔ اﻟﺘﻄﻮر‬
‫اﻟﻔﻜﺮي ﻋﻠﻰ اﻟﺴﺎﺣﺔ اﻟﻔﻨﻴﺔ اﻟﺨﻠﻴﺠﻴﺔ ﻋﺒﺮ اﻗﺘﻨــﺎء ﺗﺸﻜــﻴﻠـﺔ‬
‫ﻣﺘﻤﻴﺰة ﻣﻦ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ وﻋﺮﺿﻬﺎ أﻣﺎم اﻟﺠﻤﻬﻮر ﻓﻲ‬
‫ ﻛﻤﺎ ﺗﻬﺪف اﻟﻤﺆﺳﺴـﺔ إﻟﻰ ﺗﻮﻓﻴﺮ‬.‫ا@ﻣﺎرات اﻟﻌﺮﺑﻴــﺔ اﻟﻤﺘﺤﺪة‬
‫ﻣﻨﺼــﺔ ﻋﺎﻣﺔ ﺗﺘﻴﺢ ﻟﻠﺠﻤﻬﻮر ﺗﺒﺎدل وﺟﻬﺎت اﻟﻨﻈﺮ واﻟﺘﺤـﺎور‬
‫ ﻣﻊ اﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ اﻟﻔــﻨﺎﻧﻴﻦ‬،‫ﺣﻮل اﻟﻔﻦ اﻟﺤﺪﻳﺚ واﻟﻤﻌﺎﺻﺮ‬
.‫اﻟﻤﺘﺸﺒﻌﻴﻦ ﺑﺎﻟﺘﺮاث اﻟﻌﺮﺑﻲ ﺣﻮل اﻟﻌﺎﻟﻢ‬
The foundation’s guiding principle is to contribute
to the intellectual development of the art scene
in the Gulf region by building a prominent,
publicly accessible art collection in the UAE. Part
of this objective involves developing a public
platform to foster critical dialogue around modern
and contemporary art, with a focus on artists with
Arab heritage internationally.
ً ‫وﺗﺴﻌﻰ ”ﻣﺆﺳﺴﺔ ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن“ ﺟﺎﻫﺪة |ن ﺗﻜﻮن ﻣﻮردا‬
‫ﺛﺮا ً ﻟﻠﻤﻌﻠﻮﻣﺎت ﺣﻮل اﻟﻔﻦ اﻟﺤﺪﻳﺚ واﻟﻤﻌﺎﺻﺮ ﻋﻠﻰ اﻟﺴﺎﺣﺔ‬
‫ وذﻟﻚ ﻣﻦ ﺧﻼل اﺳﺘﻀﺎﻓﺔ اﻟﻤﻌﺎرض‬،‫اﻟﻤﺤﻠﻴﺔ واﻟﻌﺎﻟﻤﻴﺔ‬
‫ وإﺻﺪار‬،‫ وإﻋﺎرة ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ ﻟﻠﻤﻨﺘﺪﻳﺎت اﻟﺪوﻟﻴﺔ‬،‫اﻟﺪاﺧﻠﻴﺔ‬
‫ واﺑﺘﻜﺎر اﻟﺒﺮاﻣﺞ‬،‫اﻟﻤﻄﺒﻮﻋﺎت اﻟﻮرﻗﻴﺔ واﻟﻤﻨﺸﻮرات ا@ﻟﻜﺘﺮوﻧﻴﺔ‬
.‫اﻟﺘﻔﺎﻋﻠﻴﺔ ﻟﻌﺎﻣﺔ اﻟﺠﻤﻬﻮر‬
wa l i d
al Shami
‫وﻟﻴﺪ اﻟﺸﺎﻣﻲ‬
86
6 ‫ر &د اﻟـﺸــــﺮق‬
SeiF
wa n ly
‫ﺳﻴــﻒ واﻧـــﻠﻲ‬
88
By hosting in-house exhibitions, lending artwork
to international forums, producing print as well
as online publications, and fashioning interactive
public programmes, the Barjeel Art Foundation
strives to serve as an informative resource for
modern and contemporary art locally and on the
global stage.
n a S h a’a t
al zuaby
‫ﻧﺸــــﺄت اﻟﺰﻋﺒﻲ‬
94
RE: ORIENT 7
‫‪Foreword‬‬
‫ﻣﻘــﺪﻣـﺔ‬
‫‪By Salwa Mikdadi, Art Historian and Curator. Abu Dhabi, 2013‬‬
‫ﻗﻴﻤﺔ وﻣﺆرﺧﺔ ﻓﻨﻴﺔ ‪ ،‬أﺑﻮﻇﺒﻲ‪٢٠١٣ ،‬‬
‫ﺳﻠﻮى ﻣﻘﺪادي ّ‬
‫‪The decades between the 1950s and 1970s witnessed a surge‬‬
‫‪of optimism following the independence of several Arab‬‬
‫‪countries from European colonial domination. Beginning with‬‬
‫‪Syria and Lebanon in the 1940s, Egypt, Libya, Iraq, Tunisia‬‬
‫‪and Morocco achieved independence soon after while other‬‬
‫‪Arab countries gained their freedom in the 1960s to early‬‬
‫‪‘70s. This optimism, buoyed by the 1956 nationalisation of‬‬
‫‪the Suez Canal and the short-lived unification of Syria and‬‬
‫‪Egypt (United Arab Republic) in 1958, was overshadowed by‬‬
‫‪disillusion after the crippling Arab defeat in the 1967 Arab‬‬‫‪Israeli war. From an art historical standpoint, the backdrop‬‬
‫‪of social and political turmoil epitomised a pivotal period of‬‬
‫‪transition in region.‬‬
‫‪Photo courtesy of Meem Gallery, Dubai.‬‬
‫اﻟﺼﻮرة ﻣﻘﺪﻣﺔ ﻣﻦ ﻣﻴﻢ ﺟﺎﻟﻴﺮي‪ ،‬دﺑﻲ‪.‬‬
‫‪Photo of the first Arab Biennial in Baghdad, 1974.‬‬
‫ﺻﻮرة اﻟﺒﻴﻨﺎﻟﻲ اﻟﻌﺮﺑﻲ ا|ول ﻓﻲ ﺑﻐﺪاد‪١٩٧٤ ،‬‬
‫‪The artists in this exhibition belong to the second generation‬‬
‫‪of Arab artists; they benefitted from newly established‬‬
‫‪infrastructure for arts and education. Well versed in‬‬
‫‪their cultural history and literary traditions, these artists‬‬
‫‪actively engaged in critical discussions and debates around‬‬
‫‪authenticity and modernism in Arab culture. They espoused‬‬
‫‪social reform and freedom through the arts.‬‬
‫‪By the end of the 1970s, artists of this period were dis‬‬‫‪enchanted with their governments’ policies, the failure of‬‬
‫‪the social state in Egypt and the Arab modernist project‬‬
‫‪(hadatha). The modernist discourse that peaked in the 1960s‬‬
‫‪brought artists and writers together more so than in any‬‬
‫ﺳﺎدت اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ ﻣﻮﺟﺔ ﻣﻦ اﻟﺘﻔﺎؤل ﺧﻼل اﻟﻔﺘﺮة اﻟﻤﻤﺘﺪة ﺑﻴﻦ ﺧﻤﺴﻴﻨﻴﺎت‬
‫وﺳﺒﻌﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ ﻋﻘﺐ اﺳﺘﻘﻼل ﻋﺪد ﻣﻦ اﻟﺪول اﻟﻌﺮﺑﻴﺔ ﻣﻦ ﻫﻴﻤﻨﺔ‬
‫اﻻﺣﺘﻼل ا|وروﺑﻲ‪ ،‬ﺑﺪءا ً ﺑﺴﻮرﻳﺎ وﻟﺒﻨﺎن ﻓﻲ ا|رﺑﻌﻴﻨﻴﺎت‪ ،‬وﻣﺮورا ً ﺑﻤﺼﺮ وﻟﻴﺒﻴﺎ‬
‫واﻟﻌﺮاق وﺗﻮﻧﺲ واﻟﻤﻐﺮب ﺑﻌﺪﻫﺎ ﺑﻔﺘﺮة وﺟﻴﺰة‪ ،‬ووﺻﻮ ًﻻ إﻟﻰ اﺳﺘﻘﻼل ﺑﻘﻴﺔ اﻟﺒﻠﺪان‬
‫اﻟﻌﺮﺑﻴﺔ ا|ﺧﺮى ﻓﻲ اﻟﺴﺘﻴﻨﺎت وأواﺋﻞ اﻟﺴﺒﻌﻴﻨﺎت‪ .‬وارﺗﻔﻌﺖ ﻣﻮﺟﺔ اﻟﺘﻔﺎؤل ﺗﻠﻚ‬
‫إﺑﺎن أﺣﺪاث ﻋﺪﻳﺪة ﺟﺎﺷﺖ ﻟﻬﺎ ﻣﺸﺎﻋﺮ اﻟﺠﻤﺎﻫﻴﺮ اﻟﻌﺮﺑﻴﺔ ﻣﺜﻞ ﺗﺄﻣﻴﻢ ﻗﻨﺎة‬
‫اﻟﺴﻮﻳﺲ ﻋﺎم ‪ ،١٩٥٦‬واﻟﻮﺣﺪة ﺑﻴﻦ ﺳﻮرﻳﺎ وﻣﺼﺮ )اﻟﺠﻤﻬﻮرﻳﺔ اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة(‬
‫ﺑﻌﺪ ذﻟﻚ ﺑﺴﻨﺘﻴﻦ‪ .‬وﺳﺮﻋﺎن ﻣﺎ ﺳﺮت ﻓﻲ أوﺻﺎل اﻟﻤﺠﺘﻤﻌﺎت اﻟﻌﺮﺑﻴﺔ ﺧﻴﺒﺔ‬
‫ا|ﻣﻞ ﺑﻌﺪ اﻟﻬﺰﻳﻤﺔ اﻟﻤﺆﻟﻤﺔ ﻟﺤﺮب اﻟﻨﻜﺴﺔ ﻋﺎم ‪ ،١٩٦٧‬ﻓﻀ ً‬
‫ﻼ ﻋﻦ اﻟﺘﻤﻠﻤﻞ ﻣﻦ‬
‫اﻟﺴﻴﺎﺳﺎت اﻟﺤﻜﻮﻣﻴﺔ اﻟﺴﺎﺋﺪة وﺳﻂ ﻓﺸﻞ ا|ﻳﺪﻳﻮﻟﻮﺟﻴﺎت ﻣﺜﻞ اﻟﻘﻮﻣﻴﺔ اﻟﻌﺮﺑﻴﺔ‬
‫واﻻﺷﺘﺮاﻛﻴﺔ واﻟﻌﻠﻤﺎﻧﻴﺔ‪.‬‬
‫ﻳﻨﺘﻤﻲ اﻟﻤﺸﺎرﻛﻮن ﻓﻲ ﻫﺬا اﻟﻤﻌﺮض إﻟﻰ اﻟﺠﻴﻞ اﻟﺜﺎﻧﻲ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻌﺮب اﻟﺬﻳﻦ‬
‫اﺳﺘﻔﺎدوا ﻣﻦ اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ اﻟﺠﺪﻳﺪة ﻟﻘﻄﺎﻋﻲ اﻟﻔﻨﻮن واﻟﺘﻌﻠﻴﻢ‪ ،‬وﻛﺎﻧﻮا ﻋﻠﻰ‬
‫دراﻳﺔ ﻛﺎﻣﻠﺔ ﺑﺘﺎرﻳﺨﻬﻢ اﻟﺜﻘﺎﻓﻲ وﺗﻘﺎﻟﻴﺪﻫﻢ ا|دﺑﻴﺔ‪ ،‬وﺷﺎرﻛﻮا ﺑﺸﻜﻞ ﻓﺎﻋﻞ ﻓﻲ‬
‫اﻟﺠﺪل اﻟﺪاﺋﺮ ﺣﻮل ﻣﻔﺎﻫﻴﻢ ا|ﺻﺎﻟﺔ واﻟﺤﺪاﺛﺔ ﻓﻲ اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ‪ ،‬ﻓﺎﻋﺘﻨﻘﻮا اﻟﺤﺮﻳﺔ‬
‫وا@ﺻﻼح اﻻﺟﺘﻤﺎﻋﻲ ﻣﻨﻬﺠ ًﺎ ﻓﻲ أﻋﻤﺎﻟﻬﻢ اﻟﻔﻨﻴﺔ‪.‬‬
‫وﻋﺎﻧﻰ ﻫﺬا اﻟﺠﻴﻞ ﻣﻊ ﻧﻬﺎﻳﺔ اﻟﺴﺒﻌﻴﻨﻴﺎت ﻣﻦ ا@ﺣﺒﺎط وﺧﻴﺒﺔ ا|ﻣﻞ إزاء ﺳﻴﺎﺳﺎت‬
‫ﺣﻜﻮﻣﺎﺗﻬﻢ وﻓﺸﻞ اﻟﺪوﻟﺔ ا@ﺟﺘﻤﺎﻋﻴﺔ ﻓﻲ ﻣﺼﺮ وإﺧﻔﺎق ﻣﺸﺮوع اﻟﺤﺪاﺛﺔ‬
‫اﻟﻌﺮﺑﻴﺔ‪ .‬وﺟﻤﻊ ﺧﻄﺎب اﻟﺤﺪاﺛﺔ ‪ -‬اﻟﺬي ﺑﻠﻎ ذروﺗﻪ ﻓﻲ اﻟﺴﺘﻴﻨﻴﺎت ‪ -‬ﺑﻴﻦ اﻟﻔﻨﺎﻧﻴﻦ‬
‫واﻟﻜ ﱠﺘﺎب أﻛﺜﺮ ﻣﻦ أي وﻗﺖ ﻣﻀﻰ؛ ﻓﻌﻤﻞ اﻟﻤﺆﻟﻒ ﺟﺒﺮا اﺑﺮاﻫﻴﻢ ﺟﺒﺮا ﻓﻲ ﻣﺠﺎل‬
‫اﻟﻨﻘﺪ اﻟﻔﻨﻲ‪ ،‬ﺑﻴﻨﻤﺎ ﺟﻤﻌﺖ اﻟﺮﻏﺒﺔ ﻓﻲ اﻟﺘﻌﺎون ﺑﻴﻦ ﺿﻴﺎء اﻟﻌﺰاوي واﻟﺸﺎﻋﺮ ﻣﺤﻤﻮد‬
‫دروﻳﺶ‪ ،‬وﺳﻄﻊ ﻧﺠﻢ ﻓﺎﺗﺢ اﻟﻤﺪرس ﻓﻲ ﻣﺠﺎل ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ واﻟﻤﺴﺮﺣﻴﺎت‬
‫واﻟﺮواﻳﺎت ﻓﻀ ً‬
‫ﻼ ﻋﻦ اﻟﺮﺳﻢ‪ .‬وﺷﻬﺪ ﺗﺎرﻳﺦ اﻟﻔﻦ ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺒﺪاﻳﺎت‬
‫اﻟﺠﺪﻳﺪة ﺧﻼل اﻟﻔﺘﺮة اﻟﻤﻤﺘﺪة ﺑﻴﻦ ﺧﻤﺴﻴﻨﺎت وﺳﺒﻌﻴﻨﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‪ ،‬وﻣﻨﻬﺎ‬
‫ﻣﺸﺎرﻛﺔ ا|ﺟﻨﺤﺔ اﻟﻤﺼﺮﻳﺔ واﻟﺴﻮرﻳﺔ واﻟﻌﺮاﻗﻴﺔ |ول ﻣﺮة ﻓﻲ ﺑﻴﻨﺎﻟﻲ اﻟﺒﻨﺪﻗﻴﺔ‪.‬‬
other period. Writers such as
Jabra Ibrahim Jabra critiqued
art, artists collaborated with
poets such as Dia Al Azzawi
and Adonis, while Fateh Al
Moudarres wrote poetry, short
stories and essays in addition
to painting. The history of the
region’s art boasts many new
beginnings that took place
during the 1960s and ‘70s,
among them, the first Egyptian,
Syrian and Iraqi Pavilions at the
Venice Biennial. Meanwhile,
a significant number of
artists studied abroad with
state-issued scholarships,
while others attended newly
established schools of art.
‫ ﻛﻤﺎ ﺗﻮﻓﺮ‬،‫وﺗﺴﻠﻂ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ اﻟﻤﻌﺮوﺿﺔ اﻟﻀﻮء ﻋﻠﻰ اﻫﺘﻤﺎﻣﺎت ﻣﻘﺘﻨﻴﻬﺎ‬
‫ﻧﻈﺮة ﻣﻌﻤﻘﺔ ﻋﻦ اﻟﺘﻨﺎﻗﻀﺎت اﻟﺴﺎﺋﺪة ﻋﻠﻰ ﺻﻌﻴﺪ ﺗﻮاﻓﺮ وﺑﻴﻊ ﻧﺘﺎﺟﺎت اﻟﻔﻦ اﻟﻌﺮﺑﻲ‬
and debate. Wars and regime changes sent many Arab artists
into exile to the West and neighbouring Arab countries. The
1970s saw the last of the group exhibitions organised by the
‫ وﻻ ﻳﻌﺘﺒﺮ‬،ً‫وﻟﻢ ﻳﻜﻦ ﺿﻌﻒ ﺗﻤﺜﻴﻞ اﻟﻔﻨﺎﻧﺎت اﻟﻤﺸﺎرﻛﺎت ﺑﻬﺬا اﻟﻤﻌﺮض أﻣﺮا ً ﻣﻘﺼﻮدا‬
ً ‫ﺑﻄﺒﻴﻌﺔ اﻟﺤﺎل ﺗﻤﺜﻴ‬
‫ﻼ ﻣﺒﺎﺷﺮا ً ﻟﺘﻠﻚ اﻟﻔﺘﺮة؛ وﻗﺪ ﻳﻌﺰى ذﻟﻚ إﻟﻰ ﺿﻌﻒ ﺗﻤﺜﻴﻠﻬﻦ ﻓﻲ‬
‫ وﻫﻨﺎ ﺗﺠﺪر ا@ﺷﺎرة إﻟﻰ اﻟﻨﻤﻮ اﻟﻤﻀﻄﺮد ﻟﻤﺠﻤﻮﻋﺔ‬.‫اﻟﻤﻌﺎرض ودور اﻟﻤﺰادات اﻟﻌﻠﻨﻴﺔ‬
.‫ﺑﺎرﺟﻴﻞ ﻣﻊ إﺛﺮاﺋﻬﺎ ﺑﻤﺰﻳﺪ ﻣﻦ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ ﻋﻠﻰ ﻧﺤﻮ ﻣﻨﺘﻈﻢ‬
‫وﻳﻌﻮد ﻧﺤﻮ ﻧﺼﻒ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ اﻟﻤﺸﺎرﻛﺔ ﻓﻲ اﻟﻤﻌﺮض إﻟﻰ ﻓﻨﺎﻧﻴﻦ رﺳﻤﻮﻫﺎ ﻓﻲ‬
‫ ﻋﺎﻣ ًﺎ أو أﻗﻞ؛ وﺑﺬﻟﻚ ﺗﻮﻓﺮ‬٣٥ ‫ ﺣﻴﺚ ﻛﺎن ﻣﻌﻈﻤﻬﻢ ﺑﻌﻤﺮ‬،‫ﺑﺪاﻳﺎت ﻣﺴﻴﺮﺗﻬﻢ اﻟﻔﻨﻴﺔ‬
‫ﻟﻨﺎ ﻫﺬه ا|ﻋﻤﺎل اﻻﺳﺘﺜﻨﺎﺋﻴﺔ ﻟﻤﺤﺔ ﻋﻦ اﻟﺘﺄﺛﻴﺮات اﻟﺘﻲ ﺻﻘﻠﺖ ﺗﺠﺮﺑﺔ ﻛﻞ ﻓﻨﺎن ﺧﻼل‬
‫ وﻳﻌﺪ ﻣﻌﺮض »ر &د اﻟﺸﺮق« ﻓﺮﺻﺔ اﺳﺘﺜﻨﺎﺋﻴﺔ ﻻﺳﺘﺤﻀﺎر ﺛﻼﺛﺔ ﻋﻘﻮد‬.‫اﻟﻌﻘﻮد اﻟﻼﺣﻘﺔ‬
ً
‫ﻋﻼﻣﺔ ﻓﺎرﻗﺔ ﻓﻲ ﺗﺎرﻳﺦ ا@ﺑﺪاع‬
‫ واﻟﺘﻲ ﺷﻜﻠﺖ‬،‫ﻣﻦ اﻟﻨﺘﺎﺟﺎت اﻟﻔﻨﻴﺔ ﻓﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‬
‫ وﻧﻮد أن ﻧﻌﺮب ﻋﻦ ﺟﺰﻳﻞ ﺷﻜﺮﻧﺎ ﻟـ »ﻣﺆﺳﺴﺔ ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن« ﻋﻠﻰ إﺗﺎﺣﺘﻬﺎ‬.‫اﻟﻔﻨﻲ‬
.‫اﻟﻔﺮﺻﺔ ﻟﺪراﺳﺔ ﻣﺠﻤﻮﻋﺔ ﻣﻬﻤﺔ ﻣﻦ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ اﻟﻌﺎﺋﺪة ﻟﺘﻠﻚ اﻟﺤﻘﺒﺔ اﻟﻐﻨﻴﺔ‬
Union of Arab Plastic Artists (1974 Arab Biennial). By 1967,
Arab nationalism, socialism and secularism were seen as
failed state ideologies and political Islam was on the rise.
This exhibition doesn’t claim to present a comprehensive
survey of the period, neither does it offer a predetermined
concept or impose thematic parameters. Rather, it
encourages an appreciation of each work independent
of the other. It seeks to reframe art of the period on each
artist’s terms, style and influences. The artworks highlight
the interests of the collector while also providing insight into
discrepancies in the availability and sale of modern Arab art.
For example, abstraction, an important development during
this period, was not as popular in the first years of the Gulf
art fairs in comparison with abstract expressionist art.
The limited number of women in the exhibition is neither
intentional nor representative of the period; it is possibly due
to the fact that fewer women artists from the modern period
are available or presented through galleries and auction
houses. It is of note that the Barjeel collection is growing
fast with more pieces regularly added to further shape the
foundation‘s reservoir of artwork.
Photos courtesy of Meem Gallery, Dubai.
‫وﻣﻊ ﺗﻮاﺿﻊ ﻋﻼﻗﺎت اﻟﺘﻌﺎون ﻋﻠﻰ‬
A photo of artists (left) Ismail Fattah, (centre) Dia Al Azzawi,
‫اﻟﻤﺸﺎرﻳﻊ اﻟﻔﻨﻴﺔ ﺑﻴﻦ اﻟﻔﻨﺎﻧﻴﻦ ﻓﻲ ﺗﻠﻚ‬
and (right) Rafa Al Nasiri taken in Baghdad in the 1960s.
‫راﻓﻊ‬
(‫ و)ﻳﻤﻴﻨ ًﺎ‬،‫ )وﺳﻄ ًﺎ( ﺿﻴﺎء اﻟﻌﺰاوي‬،‫ﺻﻮرة ﻟﻠﻔﻨﺎﻧﻴﻦ )ﻳﺴﺎرا ً( إﺳﻤﺎﻋﻴﻞ ﻓﺘﺎح‬
‫ ﺷﻜﻠﺖ اﻟﺠﻤﻌﻴﺎت واﻟﻤﺆﺳﺴﺎت‬،‫اﻟﻔﺘﺮة‬
.‫اﻟﻨﺎﺻﺮي ﻣﻠﺘﻘﻄﺔ ﻓﻲ ﺑﻐﺪاد ﻓﻲ اﻟﺴﺘﻴﻨﻴﺎت‬
‫واﻟﺠﻤﺎﻋﺎت اﻟﻔﻨﻴﺔ ﻣﻨﺎﺑﺮ ﻣﻬﻤﺔ ﺳﺎﻋﺪت‬
،‫ﻋﻠﻰ ﻇﻬﻮر ﻋﺪد ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﺠﺪد‬
.‫وإﻧﺸﺎء ﻓﻀﺎء ﻟﻠﺤﻮار واﻟﻨﻘﺎش واﻟﺘﻔﺎﻋﻞ ﺑﻴﻦ اﻟﺮواﺋﻴﻴﻦ واﻟﺸﻌﺮاء واﻟﺼﺤﻔﻴﻴﻦ‬
As reflected in their biographies, artists represented in this
exhibition were founding members of major art collectives and
‫وﻗﺒﻞ ﺳﻠﺴﻠﺔ اﻟﺤﺮوب وﺗﻐﻴﻴﺮات ا|ﻧﻈﻤﺔ اﻟﺘﻲ دﻓﻌﺖ ﺑﺎﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ‬
associations in Egypt, Syria, Iraq and later across the Arab world.
‫ ﺷﻬﺪت ﻓﺘﺮة اﻟﺴﺒﻌﻴﻨﺎت‬،‫اﻟﻌﺮب ﻟﻠﻬﺠﺮة إﻟﻰ اﻟﻐﺮب واﻟﺪول اﻟﻌﺮﺑﻴﺔ اﻟﻤﺠﺎورة‬
In the absence of curators, Arab artists organised exhibitions and
‫آﺧﺮ اﻟﻤﻌﺎرض اﻟﺠﻤﺎﻋﻴﺔ اﻟﺘﻲ ﻧﻈﻤﻬﺎ اﺗﺤﺎد اﻟﻔﻨﺎﻧﻴﻦ اﻟﺘﺸﻜﻴﻠﻴﻴﻦ اﻟﻌﺮب )ﻣﻌﺮض‬
were active members of these associations. While there were
‫ اﻧﻬﻴﺎر أﻳﺪﻳﻮﻟﻮﺟﻴﺎت اﻟﻘﻮﻣﻴﺔ اﻟﻌﺮﺑﻴﺔ‬١٩٦٧ ‫ وﺷﻬﺪ ﻋﺎم‬.(١٩٧٤ ‫اﻟﺒﻴﻨﺎﻟﻲ اﻟﻌﺮﺑﻲ‬
few collaborations on art projects between the artists, formal
‫ وﻻ ﻳﺪﻋﻲ اﻟﻤﻌﺮض‬.‫واﻻﺷﺘﺮاﻛﻴﺔ واﻟﻌﻠﻤﺎﻧﻴﺔ وﺻﻌﻮد ﻣﻔﻬﻮم ا@ﺳﻼم اﻟﺴﻴﺎﺳﻲ‬
ً ‫ ﻛﻤﺎ أﻧﻪ ﻻ ﻳﻌﺮض ﻣﻔﻬﻮﻣ ًﺎ ﻣﺤﺪدا‬،‫ﺗﻘﺪﻳﻢ ﻣﺴﺢ ﻓﻨﻲ ﺷﺎﻣﻞ ﻟﺘﻠﻚ اﻟﻔﺘـﺮة‬
and informal artist collectives, groups or associations provided
ً
important platforms for peer review, for assisting emerging
‫ أو ﻳﻔﺮض أي ﻣﻌﺎﻳﻴﺮ ﻣﻮﺿﻮﻋﻴﺔ؛ ﺑﻞ ﻳﺸﺠﻊ ﺑﺪﻻ ﻣﻦ ذﻟﻚ ﻋﻠﻰ‬،‫ﺑﺸﻜﻞ ﻣﺴﺒﻖ‬
artists and for creating a space for discourse within which artists,
‫ﺗﻘﻴﻴﻢ ﻛﻞ ﻋﻤﻞ ﻓﻨﻲ ﺑﻤﻌﺰل ﻋﻦ اﺧﺮ؛ وﻳﺴﻌﻰ إﻟﻰ إﻋﺎدة ﺗﺄﻃﻴﺮ اﻟﺘﺠﺮﺑﺔ اﻟﻔﻨﻴﺔ‬
ً
as well as novelists, poets, journalists and others, could mingle
.‫ﻟﺘﻠﻚ اﻟﻔﺘﺮة وﻓﻘﺎ |ﺳﻠﻮب وﻣﻌﺎﻳﻴﺮ وﺗﺄﺛﻴﺮات ﻛﻞ ﻓﻨﺎن ﻋﻠﻰ ﺣﺪة‬
‫ ﺑﺸﻌﺒﻴﺔ ﻛﺎﻓﻴﺔ‬،‫ ﻋﻠﻰ أﻫﻤﻴﺘﻪ‬،‫ ﻟﻢ ﻳﺤﻆ اﻟﻔﻦ اﻟﺘﺠﺮﻳﺪي‬،‫ وﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل‬.‫اﻟﺤﺪﻳﺚ‬
.‫ﺧﻼل اﻟﺴﻨﺔ ا|وﻟﻰ ﻣﻦ ﻋﺮﺿﻪ ﻓﻲ اﻟﻤﻌﺎرض اﻟﺨﻠﻴﺠﻴﺔ ﻣﻘﺎرﻧﺔ ﺑﺎﻟﻔﻦ اﻟﺘﻤﺜﻴﻠﻲ‬
.‫ دﺑﻲ‬،‫اﻟﺼﻮرة ﻣﻘﺪﻣﺔ ﻣﻦ ﻣﻴﻢ ﺟﺎﻟﻴﺮي‬
‫وأﻧﺘﺠﺖ ﺗﻠﻚ اﻟﻔﺘﺮة ﻋﺪدا ً ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ‬
‫اﻟﻤﻤﻴﺰﻳﻦ اﻟﺬﻳﻦ ﺗﺎﺑﻊ ﺑﻌﻀﻬﻢ دراﺳﺘﻪ‬
،‫ﻓﻲ اﻟﺨﺎرج ﺑﻤﻨﺢ ﻣﻦ ﺣﻜﻮﻣﺎﺗﻬﻢ‬
‫ﻓﻴﻤﺎ ارﺗﺎد اﻟﺒﻌﺾ اﺧﺮ ﻛﻠﻴﺎت اﻟﻔﻨﻮن‬
.‫اﻟﺘﻲ ﺗﻢ ﺗﺄﺳﻴﺴﻬﺎ ﺣﺪﻳﺜ ًﺎ ﻓﻲ ﺑﻠﺪاﻧﻬﻢ‬
‫ ﻛﺎن‬،‫وﻛﻤﺎ ﻳﺒﺪو ﻣﻦ ﺳﻴﺮﻫﻢ اﻟﺬاﺗﻴﺔ‬
‫اﻟﻔﻨﺎﻧﻮن اﻟﻤﺸﺎرﻛﻮن ﻓﻲ ﻫﺬا اﻟﻤﻌﺮض‬
‫ﻣﻦ ا|ﻋﻀﺎء اﻟﻤﺆﺳﺴﻴﻦ ﻟﻠﺠﻤﻌﻴﺎت‬
‫واﻟﻤﺆﺳﺴﺎت اﻟﻔﻨﻴﺔ اﻟﻜﺒﺮى ﻓﻲ ﻣﺼﺮ‬
‫وﺳﻮرﻳﺎ واﻟﻌﺮاق وﻻﺣﻘ ًﺎ ﻓﻲ ﻣﺨﺘﻠﻒ أرﺟﺎء‬
‫ وﻓﻲ ﻇﻞ ﻏﻴﺎب اﻟﻘﻴّﻤﻴﻦ‬.‫اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‬
‫ ﻧﻈﻢ ﻫﺆﻻء اﻟﻔﻨﺎﻧﻮن اﻟﻤﻌﺎرض‬،‫اﻟﻔﻨﻴﻴﻦ‬
‫وﻛﺎﻧﻮا ﻣﻦ ا|ﻋﻀﺎء اﻟﻔﺎﻋﻠﻴﻦ ﻓﻲ ﻫﺬه‬
.‫اﻟﺠﻤﻌﻴﺎت اﻟﻔﻨﻴﺔ‬
Hafidh Al Droubi with fellow artists Jewad Selim, Atta Sabri and others
in 1940s Baghdad.
.‫ وآﺧﺮﻳﻦ ﻓﻲ ا|رﺑﻌﻴﻨﻴﺎت ﺑﺒﻐﺪاد‬،‫ وﻋﻄﺎ ﺻﺒﺮي‬،‫ﺣﺎﻓﻆ اﻟﺪروﺑﻲ ﻣﻊ زﻣﻴﻠﻴﻪ اﻟﻔﻨﺎﻧﻴﻦ ﺟﻮاد ﺳﻠﻴﻢ‬
Almost half of the artworks in Re: Orient were made by
artists early in their career, when most were 35 years old or
younger. Such exceptional works provide us with clues on
the influences that shaped the artists’ oeuvre in the period.
The exhibition is a unique opportunity to look back on three
decades of art production in the Arab world that were a
critical signpost in the history of artistic production. We are
grateful to the Barjeel Art Foundation for making it possible
to study an important selection from this era.
RE: ORIENT 11
populist rhetoric of Egyptian
President Gamal Abdel Nasser
and secular nationalist Ba’ath
parties in Iraq and Syria. The
shift toward independence also
gave way to forms of political
domination and division.
‫ر &د اﻟﺸﺮق‬
Art making often connects
subjective experiences with the
prevailing socio-political and
cultural circumstances, and
modernism in the Arab world
epitomised a dynamic exchange
of ideas. Modern-era artists
Photo of riots in Cairo just before the crowd attacked the police during the 1952 Egyptian Revolution.
with roots in Arab countries
.١٩٥٢ ‫ﺻﻮرة ﻟﻠﻤﻈﺎﻫﺮات ﻓﻲ اﻟﻘﺎﻫﺮة ﻗﺒﻞ ﺗﻌﺮض اﻟﻤﺸﺎرﻛﻴﻦ ﻓﻴﻬﺎ ﻟﻠﻬﺠﻮم ﻣﻦ اﻟﺸﺮ ﻃﺔ ﺧﻼل اﻟﺜﻮرة اﻟﻤﺼﺮﻳﺔ ﻋﺎم‬
fused traditional approaches,
ً
re-appropriated
ancient
symbolism,
and employed Western
‫وﻏﺎﻟﺒﺎ ﻣﺎ ﺗﺮﺑﻂ ﺻﻨﻌﺔ اﻟﻔﻦ ﺑﻴﻦ اﻟﺘﺠﺎرب اﻟﺸﺨﺼﻴﺔ واﻟﻈﺮوف اﻻﺟﺘﻤﺎﻋﻴﺔ‬
avant-garde styles such as Cubism, Fauvism, Surrealism and
‫ وﻗﺪ ﻓﺘﺤﺖ اﻟﺤﺪاﺛﺔ ﻓﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ اﻟﺒﺎب ﻣﻮارﺑ ًﺎ‬،‫اﻟﺴﻴﺎﺳﻴﺔ واﻟﺜﻘﺎﻓﻴﺔ اﻟﺴﺎﺋﺪة‬
Dadaism to comment on daily life, politics and existential
‫ وﺟﻤﻊ اﻟﻔﻨﺎﻧﻮن اﻟﺤﺪاﺛﻴﻮن اﻟﻤﺘﺄﺻﻠﻮن ﻓﻲ اﻟﺒﻠﺪان‬.‫أﻣﺎم ﺗﺒﺎدل دﻳﻨﺎﻣﻴﻜﻲ ﻟﻓﻜﺎر‬
concerns. They were actively involved in the global dialogue and
‫ ﻛﻤﺎ‬،‫اﻟﻌﺮﺑﻴﺔ ﻣﺎ ﺑﻴﻦ ا|ﺳﺎﻟﻴﺐ اﻟﺘﻘﻠﻴﺪﻳﺔ وا|ﺳﺎﻟﻴﺐ اﻟﺮﻣﺰﻳﺔ اﻟﻘﺪﻳﻤﺔ اﻟﻤﺘﺠﺪدة‬
interpretation of modernism.
‫ ﻣﺜﻞ اﻟﺘﻜﻌﻴﺒﻴﺔ واﻟﺴﻮرﻳﺎﻟﻴﺔ واﻟﺪاداﺋﻴﺔ ﻟﺘﺼﻮﻳﺮ‬،‫وﻇﻔﻮا ا|ﺳﺎﻟﻴﺐ اﻟﺮﻳﺎدﻳﺔ اﻟﻐﺮﺑﻴﺔ‬
INVESTIGATING MODERNISM IN THE ARAB WORLD 1950s-70s
١٩٧٠ ‫ وﺣـﺘﻰ ﻋﺎم‬١٩٥٠ ‫ﻧﻈــﺮة ﻣﻌﻤﻘﺔ ﻋﻠﻰ اﻟﺤﺪاﺛﺔ ﻓﻲ اﻟﻌـﺎﻟﻢ اﻟﻌﺮﺑﻲ ﻣﻨﺬ ﻋــﺎم‬
Text by Mandy Merzaban
‫ﺑﻘﻠﻢ ﻣﺎﻧﺪي ﻣﺮزﺑﺎن‬
Examining art production between the 1950s and 1970s,
which for many Arab countries marked a pivotal period of
transition from French and British imperialism, provides a
glimpse into the subjective framework within which artists
were operating. The residue of colonial rule engendered a
wave of Arab nationalism in the 1950s and ‘60s with the rise
of Pan-Arab movements such as Nasserism, steered by the
‫ ﻟﻘﺪ ﺷﺎرﻛﻮا ﺑﻔﺎﻋﻠﻴﺔ ﻓﻲ اﻟﺤﻮار‬.‫اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ واﻟﻬﻤﻮم اﻟﺴﻴﺎﺳﻴﺔ واﻟﻮﺟﻮدﻳﺔ‬
.‫اﻟﻌﺎﻟﻤﻲ وﺗﻔﺎﻋﻼت اﻟﺤﺪاﺛﺔ‬
.‫اﻟﺼﻮرة ﻣﻦ ﺟﻴﺘﻲ إﻳﻤﻴﺠﺰ‬
‫وﻋﻨﺪ إﻟﻘﺎء ﻧﻈﺮة ﻣﻌﻤﻘﺔ ﻋﻠﻰ اﻟﻨﺘﺎج اﻟﻔﻨﻲ ﻣﻦ ﺧﻤﺴﻴﻨﻴﺎت ﺣﺘﻰ ﺳﺒﻌﻴﻨﻴﺎت اﻟﻘﺮن‬
‫ ﺗﻠﻚ اﻟﺤﻘﺒﺔ اﻟﻤﻔﺼﻠﻴﺔ اﻟﺘﻲ ﺷﻬﺪت اﻧﺘﻘﺎل اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺒﻠﺪان اﻟﻌﺮﺑﻴﺔ‬،‫اﻟﻌﺸﺮﻳﻦ‬
‫ ﺗﺘﻀﺢ اﻟﻨﺰﻋﺔ اﻟﺬاﺗﻴﺔ اﻟﻤﺆﻃﺮة |ﻋﻤﺎل‬،‫ﻣﻦ ﻧﻴﺮ اﻻﺳﺘﻌﻤﺎر اﻟﻔﺮﻧﺴﻲ إﻟﻰ اﻟﺒﺮﻳﻄﺎﻧﻲ‬
‫اﻟﻤﺪ‬
‫ وﻗﺪ أﺳﺴﺖ رواﺳﺐ اﻟﺤﻜﻢ اﻻﺳﺘﻌﻤﺎري ﻟﻤﻮﺟﺔ ﻣﻦ‬.‫ﻓﻨﺎﻧﻲ ﺗﻠﻚ اﻟﻔﺘﺮة‬
ّ
‫اﻟﻘﻮﻣﻲ اﻟﻌﺮﺑﻲ ﻓﻲ اﻟﺨﻤﺴﻴﻨﻴﺎت واﻟﺴﺘﻴﻨﻴﺎت ﻣﻊ ﻇﻬﻮر اﻟﺤﺮﻛﺎت اﻟﻌﺮوﺑﻴﺔ ﻣﺜﻞ‬
‫ ﻣﺪﻓﻮﻋﺔ ﺑﺎﻟﺨﻄﺎﺑﺎت اﻟﺠﻤﺎﻫﻴﺮﻳﺔ ﻟﻠﺮﺋﻴﺲ اﻟﻤﺼﺮي آﻧﺬاك ﺟﻤﺎل ﻋﺒﺪ‬،‫اﻟﻨﺎﺻﺮﻳﺔ‬
‫ وﺳﺮﻋﺎن ﻣﺎ ﻓﺘﺤﺖ‬.‫ وﺣﺰب اﻟﺒﻌﺚ اﻟﻌﻠﻤﺎﻧﻲ اﻟﻌﺮوﺑﻲ ﻓﻲ ﺳﻮرﻳﺎ واﻟﻌﺮاق‬،‫اﻟﻨﺎﺻﺮ‬
.‫ اﻟﻄﺮﻳﻖ أﻣﺎم أﺷﻜﺎل ﻣﻦ اﻟﻬﻴﻤﻨﺔ اﻟﺴﻴﺎﺳﻴﺔ واﻻﻧﻘﺴﺎم‬،‫اﻟﻨﺰﻋﺔ ﻧﺤﻮ اﻟﺘﺤﺮر‬
A repertoire of images has shaped understandings of
Arab societies. Among these, Western illustrations of the
Orient—a colonial term now deemed pejorative used to
describe peoples, places and customs of the ‘Far East’—laid
the groundwork for romanticised, mono-centric perceptions
of countries in the Levant, North Africa, Arabian Gulf and Iraq.
Depictions of idealised landscapes, opulence and violence
became insignia that captured the agendas of Western
observers more than the cultures themselves.
Photo by Getty Images.
ّ ‫ﻣﺨﺰون ﻛﺒﻴﺮ ﻣﻦ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ اﻟﺘﺼﻮﻳﺮﻳﺔ‬
‫ﺷﻜﻞ اﻻﻧﻄﺒﺎﻋﺎت واﻟﺘﺼــﻮرات‬
-“‫ وﻣﻦ ﺑﻴﻨﻬﺎ اﻟﺘﺼـﻮر اﻟﻐﺮﺑﻲ ﻟـ ”اﻟﺸـﺮق‬،‫اﻟﺴﺎﺋﺪة ﻋﻦ اﻟﻤﺠﺘﻤﻌﺎت اﻟـﻌﺮﺑﻴﺔ‬
‫ واﻟﺬي اﺳﺘﺨـﺪم ﻓﻲ‬،‫ﻳﻌﺪ اﻟﻴﻮم ﻣﻔﻬﻮﻣ ًﺎ رﺟﻌﻴ ًﺎ‬
ّ ‫اﻟﻤﺼﻄﻠﺢ اﻻﺳﺘﻌﻤﺎري اﻟﺬي‬
‫وﻣﻬﺪ ﻟﻈﻬﻮر ﺗﺼﻮرات‬
-“‫وﺻﻒ ﺷﻌﻮب وأﻣﺎﻛﻦ وﻣﻼﺑﺲ ”اﻟﺸﺮق ا|ﻗﺼﻰ‬
ّ
‫ واﻟﺨﻠﻴــﺞ‬،‫ وﺷﻤﺎل أﻓﺮﻳـﻘﻴـﺎ‬،‫روﻣﺎﻧﺴﻴـﺔ وأﺣﺎدﻳﺔ ﺣﻮل اﻟﻤﺸﺮق اﻟـﻌﺮﺑﻲ‬
‫ وأﺻﺒﺤﺖ ا|ﻋﻤــﺎل اﻟﻔﻨﻴﺔ اﻟﺘﻲ ﺗﺼﻮر اﻟﻤﻨﺎﻇﺮ اﻟﻄﺒﻴﻌﻴﺔ‬.‫ واﻟﻌﺮاق‬،‫اﻟﻌـﺮﺑﻲ‬
،‫ ﺷﺎرات اﺳﺘﺤﻮذت ﻋﻠﻰ أﺟﻨﺪات اﻟﻤﺮاﻗﺒﻴﻦ اﻟﻐﺮﺑﻴﻴﻦ‬،‫اﻟﻤﺜﺎﻟﻴﺔ واﻟﺒﺬخ واﻟﻌﻨﻒ‬
.‫أﻛﺜﺮ ﻣﻦ اﻟﺜﻘﺎﻓﺎت ﻧﻔﺴﻬﺎ‬
،‫“ اﻟﺬي ﻳﺮﻣﺰ إﻟﻰ ”اﻟﺮد“ ﻋﻠﻰ اﻟﺮﺳﺎﻟﺔ ا|ﺻﻠﻴﺔ‬RE“‫ﻫﺬا اﻟﻤﻌﺮض ﻳﺒﺪأ ﺑﺎﻻﺧﺘﺼﺎر‬
‫واﻟﺘﻲ ﺗﻌﺒﺮ ﻋﻦ اﻟﺤﻮار اﻟﻤﻔﺘﻮح واﻟﻤﺴﺘﻤﺮ ﺑﻴﻦ ﻣﺎﺿﻲ وﺣﺎﺿﺮ اﻟﺸﻌﻮب‬
‫ وﻳﻔﻀﺢ اﻟﻔﺌﻮﻳﺔ اﻟﺰاﺋﻔﺔ اﻟﺘﻲ ﺗﺴﺠﻦ اﻟﻔﻨﺎﻧﻴﻦ ﺑﻴﻦ ﺟﺪران اﻟﺘﻔﺴﻴﺮات‬،‫اﻟﻤﺘﻐﺎﻳﺮة‬
ً ‫ ﻳﺠﺴﺪ ”ر &د اﻟﺸﺮق“ ﺟﺪ‬.‫اﻟﻀﻴﻘﺔ ﻟﻠﻬﻮﻳﺔ واﻟﺴﻴﺎﺳﺔ‬
‫ﻻ ﻣﺴﺘﻤﺮا ً ﺣﺘﻰ ﻳﻮﻣﻨﺎ ﻫﺬا‬
‫ وﻣﻊ ﺗﻄﻮر ا|ﺑﺤﺎث ﺣﻮل اﻟﻔﻦ اﻟﺤﺪاﺛﻲ ﻓﻲ‬.‫ﺣﻮل ﺗﻄﻮر اﻟﻔﻦ ﺧﻼل ﺛﻼﺛﻴﻦ ﻋﺎﻣ ًﺎ‬
‫ ﻓﺈن اﻟﻔﻮارق اﻟﺪﻗﻴﻘﺔ اﻟﻤﻮروﺛﺔ وا|ﻓﻜﺎر اﻟﻤﻮﺟﻬﺔ ﻟﻠﺤﺪاﺛﺔ‬،‫اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‬
.‫ﺗﺸﻬﺪ ﻣﺮاﺟﻌﺔ ﻣﺴﺘﻤﺮة وﺗﺠﺪﻳﺪا ً وإﻋﺎدة ﺗﻮﺟﻴﻪ ﻣﺘﻮاﺻﻠﻴﻦ‬
.
This exhibition starts with the prefix RE:—a symbol
signifying a ‘reply’ to an original message, and representing
the ongoing, open-ended dialogue about past and present
notions of otherness and the contrived categories that trap
artists in narrow interpretations of identity and politics. RE:
Orient is a conversation, persisting to this day, about the
development of art in the 30-year period. As research of
modern art in the Arab world evolves, the inherent nuances
and guiding paradigms for modernity are continuously
reviewed, replenished and reoriented.
RE: ORIENT 13
reViSiting
art in iraQ
‫اﻟﻌﻮدة ﻟﻠﻔﻦ ﻓﻲ اﻟﻌﺮاق‬
‫ﺑﺎﺗﺮﻳﻚ ﻛﻴﻦ ﻳﺤﺎور‬
‫ﺿﻴﺎء اﻟﻌﺰاوي‬
‫ﺿﻴﺎء اﻟﻌﺰاوي ﻓﻲ ﺑﻐﺪاد‬
Dia Al Azzawi photographed in Baghdad
Photo courtesy of Meem Gallery, Dubai.
. “‫اﻟﺼﻮرة ﻣﻘﺪﻣﺔ ﻣﻦ ”ﻣﻴﻢ ﺟﺎﻟﻴﺮي‬
‫ ﻣﻦ ﺑﻴﻦ أﻋﻤﺎﻟﻚ اﻟﺘﻲ ﺗﻘﺘﻨﻴﻬﺎ »ﻣﺆﺳﺴﺔ ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن« ﻫﻨﺎك‬:‫ب ك‬
‫ ﻣﺎ ﻫﻮ ﺗﺼﻮرك ﻟﻬﺬا اﻟﻌﻤﻞ‬.١٩٦٦ ‫ﻟﻮﺣﺔ »ﻗﻨﺎع اﻟﻤﺪﻋﻴﻦ« اﻟﺘﻲ رﺳﻤﺘﻬﺎ ﻋﺎم‬
‫اﻟﻴﻮم ﺑﻌﺪ ﻣﺮور ﻛﻞ ﻫﺬا اﻟﻮﻗﺖ وﻓﻲ ﺿﻮء ﺧﺒﺮﺗﻚ اﻟﺘﻲ اﻛﺘﺴﺒﺘﻬﺎ ﻓﻲ‬
‫اﻟﺤﻴﺎة؟ ﻣﺎ ﻫﻮ ﻣﻌﻨﺎه ا|ﺻﻠﻲ؟ وﻛﻴﻒ ﺗﻨﻈﺮ إﻟﻴﻪ اﻟﻴﻮم؟‬
‫ ﻛﻨﺖ أﻋﻤﻞ ﻓﻲ ﻣﻮﻗﻊ أﺛﺮي إﺳﻼﻣﻲ ﻋﻠﻰ أﻃﺮاف ﻣﺪﻳﻨﺔ‬،١٩٦٨ ‫ ﻓﻲ ﻋﺎم‬:‫ضع‬
‫ وﻣﺮرت ﺣﻴﻨﻬﺎ ﺑﻤﻨﻄﻘﺔ ﺗﺪﻋﻰ »اﻟﺠﻮف« ﻋﻠﻰ ﻃﺮف اﻟﺼﺤﺮاء وﺗﻌﺪ‬.‫ﻛﺮﺑﻼء‬
‫ وﻛﺎن اﻟﺘﺒﺎﻳﻦ ﺑﻴﻦ ﻫﺬه اﻟﻤﺪﻳﻨﺔ ﺑﻤﺴﺠﺪﻫﺎ اﻟﺬﻫﺒﻲ‬.‫ﺑﻤﺜﺎﺑﺔ ﻣﺪﺧﻞ ﻟﻜﺮﺑﻼء‬
‫اﻟﺒﺎذخ ﻣﻦ ﺟﻬﺔ واﻟﺼﺤﺮاء ﺑﻔﺮاﻏﻬﺎ اﻟﻤﺘﺮاﻣﻲ ﻣﻦ ﺟﻬﺔ أﺧﺮى ﻫﻮ اﻟﺬي‬
‫ وﻛﺎﻧﺖ ﻓﻜﺮة‬.(‫أﻟﻬﻤﻨﻲ رﺳﻢ ﻫﺬه اﻟﻠﻮﺣﺔ اﻟﺘﻲ ﺳﻤﻴﺘﻬﺎ »اﻟﺠﻮف« )اﻟﻘﻨﺎع‬
‫اﻟﻌﻤﻞ ﺗﺮﺗﻜﺰ ﻋﻠﻰ اﺳﺘﺨﺪام اﻟﺠﻮف ﻛﻘﻨﺎع ﻟﻤﺪﻳﻨﺔ ﻏﻨﻴﺔ ﺑﺈرﺛﻬﺎ اﻟﺘﺎرﻳﺨﻲ‬
.‫وأﻫﻤﻴﺘﻬﺎ اﻟﻜﺒﻴﺮة ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺸﻌﺐ اﻟﻌﺮاﻗﻲ‬
‫أﻣﺎ ﻛﻴﻒ أرى ﻫﺬه اﻟﻠﻮﺣﺔ اﻟﻴﻮم؟ ﻓﻬﻲ ﺑﺒﺴﺎﻃﺔ ﺗﻌﻮد ﺑﻲ إﻟﻰ ا|ﻳﺎم اﻟﺘﻲ ﻛﻨﺖ‬
‫أﻋﻤﻞ ﻓﻴﻬﺎ ﻓﻲ ﻣﺠﺎل اﺛﺎر وأﺗﻌﺎون ﺧﻼﻟﻬﺎ ﻣﻊ ﻓﻨﺎﻧﻴﻦ آﺧﺮﻳﻦ وﻧﺒﺬل ﻗﺼﺎرى‬
.‫ﺟﻬﺪﻧﺎ ﻟﺪﻓﻊ اﻟﺤﺮﻛﺔ اﻟﻔﻨﻴﺔ اﻟﻌﺮاﻗﻴﺔ إﻟﻰ ﺣﺪود ﺟﺪﻳﺪة‬
‫ ﻫﻼ ﺣﺪﺛﺘﻨﺎ ﻣﻦ ﺧﻼل ﺗﺠﺮﺑﺘﻚ ﻋﻦ اﻟﺘﻐﻴﺮ اﻟﺬي ﻃﺎل ا|ﺳﺲ‬:‫ب ك‬
‫ ﻣﺎ‬،‫اﻟﻤﺆﺳﺴﻴﺔ واﻟﺪﻋﻢ اﻟﻤﻘﺪم ﻟﻠﻔﻨﺎﻧﻴﻦ ﻓﻲ اﻟﻌﺮاق؟ ﻋﻨﺪﻣﺎ ﺑﺪأت ﺗﺠﺮﺑﺘﻚ‬
PatriCK Kane interViewS
dia al azzawi
PK: Among your works collected by the Barjeel Art Foundation
is your painting Mask of the Pretenders (1966). What is your
reflection on this painting now that time has passed and based
on your life experience? What was its original meaning and
how do you view it today?
DA: In 1968, I was working in an Islamic archaeological site
on the outskirts of Karbala city. Once I came across an area
named, locally, Al Joff. It was at the edge of the desert, and as
soon as you left this area you entered Karbala city. The contrast between this city with its lavish golden mosque and the
desert with its vast emptiness inspired me in this painting,
which I named in Arabic, Al Joff (mask). The idea behind the
work was to use Al Joff, with its minimal landscape, as a mask
to a city that is very rich with regard to its historical mythology
and its importance in the Iraqi society.
How I view it today? It simply takes me back to the days
when I was working in the field of archaeology; to the days
RE: ORIENT 15
‫‪this support. Cultural centres were forced to close, and sup‬‬‫‪port for artists dwindled.‬‬
‫‪PK: The recent showing of your mural Elegy to My Trapped‬‬
‫‪City (also known as Ode to My City) at Meem Gallery in Dubai‬‬
‫‪allowed us to view again this powerful interpretation of the‬‬
‫‪destruction of Iraq following the invasion by American forces in‬‬
‫‪2003. Is the form of the large painted mural intended to con‬‬‫‪front the viewer with a scale that presents more than the eye‬‬
‫?‪can take in all at once‬‬
‫‪DA: Because of the scale of the‬‬
‫‪destruction, I felt that I had only one‬‬
‫‪option, to create a large painting that‬‬
‫‪could communicate the pain and loss‬‬
‫‪of thousands of Iraqi people. It would‬‬
‫‪also be better in creating a dialogue‬‬
‫‪with the viewer, to focus their mind on‬‬
‫‪the topics that I was dealing with.‬‬
‫ب ك‪ :‬اﺳﺘﺨﺪام اﻟﻠﻮﻧﻴﻦ ا|ﺳﻮد وا|ﺑﻴﺾ ﺑﺎ@ﺿﺎﻓﺔ إﻟﻰ اﻟﻤﺤﺘﻮى واﻟﺸﻜﻞ اﻟﻌﺎم‬
‫ﻟﻠﻮﺣﺔ »ﻗﺼﻴﺪة رﺛﺎء ﻟﻤﺪﻳﻨﺘﻲ« ﻳﺴﺘﺤﻀﺮ إﻟﻰ ذﻫﻨﻲ ﺟﺪارﻳﺔ ﺑﻴﻜﺎﺳﻮ اﻟﺸﻬﻴﺮة‬
‫»ﺟﺮﻳﻨﻜﺎ« اﻟﺘﻲ رﺳﻤﻬﺎ ﻋﺎم ‪ .١٩٣٧‬ﻫﻞ ﺗﺴﻌﻰ ﻣﻦ وراء ذﻟﻚ إﻟﻰ إﻳﻘﺎظ ذاﻛﺮة‬
‫اﻟﻤﺸﺎﻫﺪ ﺣﻴﺎل ذﻟﻚ اﻟﻌﻤﻞ ﻟﻠﻔﺖ اﻧﺘﺒﺎﻫﻪ ﻧﺤﻮ ﻣﺠﺰرة ﺻﺒﺮا وﺷﺎﺗﻴﻼ‪ ،‬أو إﻟﻰ اﻟﺪﻣﺎر‬
‫اﻟﻜﺒﻴﺮ اﻟﺬي ﺧﻠﻔﺘﻪ اﻟﻐﺰوات ﻋﻠﻰ اﻟﺸﻌﺐ اﻟﻌﺮاﻗﻲ؟‬
‫‪“by the end oF the ‘70S,‬‬
‫‪the goVernment had‬‬
‫‪Started to uSe art aS‬‬
‫”‪a PolitiCal tool‬‬
‫»ﺑﻨﻬــﺎﻳﺔ اﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬ﺑــﺪأت‬
‫اﻟﺤﻜــﻮﻣــﺎت ﺗﺴﺘﺨــﺪم اﻟﻔــﻦ‬
‫ﻛﺄداة ﺳﻴــﺎﺳﻴﺔ«‬
‫‪PK: For me, the use of black and white, the content and gen‬‬‫‪eral form of Ode to My City, calls to mind Picasso’s epic mural,‬‬
‫‪Guernica (1937). Were you seeking to awaken the viewer’s‬‬
‫‪memory of this other work in drawing attention to the plight of‬‬
‫‪victims of the Sabra and Shatilla massacre or of the destructive‬‬
‫?‪results of invasions to the residents of Baghdad‬‬
‫‪DA: My understanding is that many artists use black as a‬‬
‫‪dominant colour, Picasso among them. During the ‘90s, when‬‬
‫‪I was producing work about Iraq under the title Bilad Al Awad‬‬
‫‪(including Ode to my City) I started to restrain myself from‬‬
‫‪using the colours that had previously dominated my paintings.‬‬
‫ﻛﻤﺎ ﺳﻴﻜﻮن ﻣﻦ ا|ﻓﻀﻞ ﻛﺬﻟﻚ إﻳﺠﺎد ﺣﻮار ﻣﻊ اﻟﻤﺸﺎﻫﺪ ﻟﻴﺮﻛﺰ ﻋﻠﻰ اﻟﻤﻮاﺿﻴﻊ‬
‫اﻟﺘﻲ أﻗﻮم ﺑﻤﻌﺎﻟﺠﺘﻬﺎ ﻓﻲ ﻫﺬه اﻟﻠﻮﺣﺔ‪.‬‬
‫ضع‪ :‬ﻳﺴﺘﺨﺪم اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻠﻮن ا|ﺳﻮد‬
‫ﻃﺎغ ﺑﻤﻦ ﻓﻴﻬﻢ ﺑﻴﻜﺎﺳﻮ؛ وﻋﻨﺪﻣﺎ ﻛﻨﺖ‬
‫ﺑﺸﻜﻞ ٍ‬
‫أﻋﻤﻞ ﻓﻲ اﻟﺘﺴﻌﻴﻨﻴﺎت ﻋﻠﻰ ﻣﺠﻤﻮﻋﺔ ا|ﻋﻤﺎل‬
‫اﻟﺘﻲ أﻃﻠﻘﺖ ﻋﻠﻴﻬﺎ اﺳﻢ »ﺑﻼد اﻟﺴﻮاد« واﻟﺘﻲ ﺗﻀﻢ‬
‫ﻟﻮﺣﺔ »ﻗﺼﻴﺪة رﺛﺎء ﻟﻤﺪﻳﻨﺘﻲ«‪ ،‬ﺑﺪأت أﻛﺒﺢ ﻧﻔﺴﻲ‬
‫ﻋﻦ اﺳﺘﺨﺪام ا|ﻟﻮان اﻟﺘﻲ ﺳﺎدت ﻟﻮﺣﺎﺗﻲ اﻟﺴﺎﺑﻘﺔ‬
‫ﻛﻨﻮع ﻣﻦ اﻻﺣﺘﺮام ﻻف ا|ﺷﺨﺎص اﻟﺬﻳﻦ ﻓﻘﺪوا‬
‫ﺣﻴﺎﺗﻬﻢ‪ ،‬وﻟﺘﺬﻛﻴﺮ اﻟﻤﺸﺎﻫﺪﻳﻦ ﺑﻤﻌﺎﻧﺎة اﻟﻀﺤﺎﻳﺎ‬
‫وﺗﺮﻛﻴﺰ اﻫﺘﻤﺎﻣﻬﻢ ﻋﻠﻰ اﻟﻤﻮﺿﻮﻋﺎت اﻟﺘﻲ‬
‫ﻋﺎﻟﺠﻬﺎ اﻟﻔﻦ‪.‬‬
‫ب ك‪ :‬ﻫﻴﻤﻨﺖ ﻋﻠﻰ ﺳﻠﺴﻠﺔ ﻣﻌﺎرض »اﻟﻔﻦ ﻓﻲ اﻟﻌﺮاق اﻟﻴﻮم« اﻟﺘﻲ ﻛﻨﺖ ﻗﻴﻤ ًﺎ‬
‫ﻋﻠﻴﻬﺎ إﻟﻰ ﺟﺎﻧﺐ ﺗﺸﺎرﻟﺰ ﺑﻮﻛﻮك‪ ،‬ﻓﻜﺮة واﺣﺪة ﻫﻲ رؤﻳﺘﻚ اﻟﺨﺎﺻﺔ ﺣﻴﺎل اﻟﺪور‬
‫اﻟﻤﺘﻐﻴﺮ ﻟﻠﻔﻨﻮن واﺳﺘﺨﺪاﻣﻬﺎ ﻟﻤﺼﻠﺤﺔ اﻟﺪوﻟﺔ‪ .‬ﻫﻞ ﻓﻘﺪ اﻟﻔﻦ اﺳﺘﻘﻼﻟﻴﺘﻪ ﻣﻊ‬
‫ﻫﻴﻤﻨﺔ اﻟﺪوﻟﺔ ﻋﻠﻰ ا@ﻧﺘﺎج اﻟﻔﻨﻲ ﺧﻼل اﻟﻔﺘﺮة اﻟﻼﺣﻘﺔ ﻣﻦ ﺣﻜﻢ ﺻﺪام ﺣﺴﻴﻦ؟‬
‫وﻣﺎ ﻫﻮ دور اﻟﻔﻦ ﻓﻲ اﻟﻤﻨﻔﻰ ﻛﺄﺣﺪ أﺷﻜﺎل اﻟﻤﻘﺎوﻣﺔ؟‬
‫ضع‪ :‬ﻫﻴﻤﻨﺔ اﻟﺪوﻟﺔ ﺗﻨﺘﺞ اﻟﻜﺜﻴﺮ ﻣﻦ ا|ﻋﻤﺎل اﻟﺘﻤﺠﻴﺪﻳﺔ واﻟﺴﻄﺤﻴﺔ ذات‬
‫اﻟﻄﺎﺑﻊ اﻟﺪﻋﺎﺋﻲ‪ ،‬واﻟﺘﻲ إﻣﺎ اﺻﻄﺒﻐﺖ ﺑﻄﺎﺑﻊ ﻣﺤﺎﻳﺪ ﺗﺠﺎه ا|ﺣﺪاث اﻟﺠﺎرﻳﺔ أو‬
‫اﻧﻄﻠﻘﺖ ﻣﻦ وﺟﻬﺔ ﻧﻈﺮ ﺷﺨﺼﻴﺔ ﺻﺮﻓﺔ؛ وﻣﻊ اﺳﺘﻤﺮار ﻫﺬا اﻟﺘﻮﺟﻪ ﻋﻠﻰ‬
‫ﻣﺪى ﺳﻨﻮات ﻋﺪﻳﺪة ﺑﺎت ﻣﻦ اﻟﺼﻌﻮﺑﺔ ﺑﻤﻜﺎن اﻟﻌﺜﻮر ﻋﻠﻰ ا|ﻋﻤﺎل اﻟﻘﻴّﻤﺔ‬
‫اﻟﺘﻲ ﻳﻤﻜﻦ ﻟﻬﺎ أن ﺗﻌﻜﺲ ﺻﻮرة اﻻﺿﻄﻬﺎد واﻟﻤﻌﺎﻧﺎة اﻟﺘﻲ ﻳﻌﻴﺸﻬﺎ اﻟﺸﻌﺐ‬
‫اﻟﻌﺮاﻗﻲ‪ .‬وﻣﻦ ﻫﻨﺎ ﻛﺎن اﻟﺪور اﻟﺤﻘﻴﻘﻲ ﻟﻠﻔﻨﺎﻧﻴﻦ ﻓﻲ اﻟﻤﻨﻔﻰ ﻳﺘﻤﺜﻞ ﻓﻲ ا@ﺿﺎءة‬
‫‪when I was working with other artists doing our utmost to‬‬
‫‪push the Iraqi art movement to a new border.‬‬
‫‪PK: In your experience, how has the institutional base and sup‬‬‫‪port for artists changed in Iraq? When you began, what were‬‬
‫‪the options and paths for artists, art instructors or others to‬‬
‫‪seek a career in the arts and how has that changed now for the‬‬
‫?‪generations that followed‬‬
‫‪DA: My first exhibition was in 1964. At that time, we had no‬‬
‫‪support at all from the government, the sole exception being‬‬
‫‪that the Ministry of Information might, from time to time,‬‬
‫‪buy one painting for the Museum of Modern Art. After the‬‬
‫‪start of the ‘70s, the government started to become more‬‬
‫‪open and two major projects followed: the Monument of the‬‬
‫‪Unknown Soldier by Khalid Al Rahhal, and the Monument of the‬‬
‫‪Martyr by Ismail Fattah. The government also began to sup‬‬‫‪port and to finance a number of conferences and festivals of‬‬
‫‪Arab art, and to instigate the opening of Iraqi cultural centres‬‬
‫‪across the world. By the end of the ‘70s, the government had‬‬
‫‪started to use art as a political tool. This led to a yearly exhi‬‬‫‪bition that gradually became an alternative to that held by‬‬
‫‪the Iraqi Artists Society.‬‬
‫‪PK: To what extent did the crises that ensued in Iraq from the‬‬
‫?‪late 1970s change the government’s support for the arts‬‬
‫‪DA: Following the start of the war with Iran in September‬‬
‫‪1980, the Iraqi government continued to support international‬‬
‫‪exhibitions as a way to distract from the destruction and con‬‬‫‪sequences of conflict. However, due to the length and cost of‬‬
‫‪the war, by the mid-1980s it had become difficult to maintain‬‬
‫ﻫﻲ اﻟﺨﻴﺎرات واﻟﺴﺒﻞ اﻟﺘﻲ ﻛﺎﻧﺖ ﻣﺘﺎﺣﺔ ﻟﻠﻔﻨﺎﻧﻴﻦ أو ﻣﺪرﺳﻲ اﻟﻔﻦ أو ﻏﻴﺮﻫﻢ‬
‫ﻟﺘﻄﻮﻳﺮ ﻣﺴﻴﺮﺗﻬﻢ اﻟﻔﻨﻴﺔ؟ وﻛﻴﻒ ﺗﻐﻴﺮ ذﻟﻚ ﺑﺎﻟﻨﺴﺒﺔ ﻟﺟﻴﺎل اﻟﻼﺣﻘﺔ؟‬
‫ضع‪ :‬أﻗﻤﺖ ﻣﻌﺮﺿﻲ ا|ول ﻓﻲ ﻋﺎم ‪ ،١٩٦٤‬وﺣﻴﻨﻬﺎ ﻟﻢ ﻧﻜﻦ ﻧﺘﻠﻘﻰ أي دﻋﻢ‬
‫ﻣﻦ اﻟﺤﻜﻮﻣﺔ ﻋﻠﻰ ا@ﻃﻼق ﺑﺎﺳﺘﺜﻨﺎء وزارة ا@ﻋﻼم اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻘﻮم ﻣﻦ ﺣﻴﻦ‬
‫ﺧﺮ ﺑﺸﺮاء إﺣﺪى اﻟﻠﻮﺣﺎت ﻟﻴﺘﻢ ﻋﺮﺿﻬﺎ ﻓﻲ »ﻣﺘﺤﻒ اﻟﻔﻦ اﻟﺤﺪﻳﺚ«‪ .‬وﺑﻌﺪ‬
‫ﺑﺪاﻳﺔ اﻟﺴﺒﻌﻴﻨﺎت‪ ،‬أﺿﺤﺖ اﻟﺤﻜﻮﻣﺔ أﻛﺜﺮ اﻧﻔﺘﺎﺣ ًﺎ ﻣﻦ ذي ﻗﺒﻞ ﻟﻴﻌﻘﺐ ذﻟﻚ‬
‫ﻣﺸﺮوﻋﻴﻦ رﺋﻴﺴﻴﻴﻦ ﻫﻤﺎ »ﻧﺼﺐ اﻟﺠﻨﺪي اﻟﻤﺠﻬﻮل« ﻟﻠﻔﻨﺎن ﺧﺎﻟﺪ اﻟﺮﺣﺎل‪،‬‬
‫و«ﻧﺼﺐ اﻟﺸﻬﻴﺪ« ﻟﻠﻔﻨﺎن اﺳﻤﺎﻋﻴﻞ اﻟﻔﺘﺎح‪ .‬وﺑﺪأت اﻟﺤﻜﻮﻣﺔ أﻳﻀ ًﺎ ﺑﺪﻋﻢ‬
‫وﺗﻤﻮﻳﻞ ﻋﺪد ﻣﻦ ﻣﺆﺗﻤﺮات وﻣﻬﺮﺟﺎﻧﺎت اﻟﻔﻦ اﻟﻌﺮﺑﻲ‪ ،‬ﺑﺎ@ﺿﺎﻓﺔ إﻟﻰ اﻓﺘﺘﺎح‬
‫اﻟﻤﺮاﻛﺰ اﻟﺜﻘﺎﻓﻴﺔ اﻟﻌﺮاﻗﻴﺔ ﺣﻮل اﻟﻌﺎﻟﻢ؛ وﺑﻨﻬﺎﻳﺔ اﻟﺴﺒﻌﻴﻨﻴﺎت‪ ،‬ﺑﺪأت اﻟﺤﻜﻮﻣﺎت‬
‫ﺗﺴﺘﺨﺪم اﻟﻔﻦ ﻛﺄداة ﺳﻴﺎﺳﻴﺔ‪ ،‬وﻫﺬا ﻣﺎ ﻧﺘﺞ ﻋﻨﻪ إﻗﺎﻣﺔ ﻣﻌﺮض ﺳﻨﻮي أﺻﺒﺢ‬
‫ﺑﺸﻜﻞ ﺗﺪرﻳﺠﻲ ﺑﺪﻳ ً‬
‫ﻼ ﻋﻦ اﻟﻤﻌﺮض اﻟﺬي ﺗﺮﻋﺎه »ﺟﻤﻌﻴﺔ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻌﺮاﻗﻴﻴﻦ«‪.‬‬
‫ب ك‪ :‬إﻟﻰ أي ﺣﺪ ﻏﻴﺮت ا|زﻣﺎت اﻟﺘﻲ أﻟﻤﺖ ﺑﺎﻟﻌﺮاق ﻣﻨﺬ أواﺧﺮ اﻟﺴﺒﻌﻴﻨﻴﺎت ﻣﻦ‬
‫ﻣﺴﺘﻮى اﻟﺪﻋﻢ اﻟﺤﻜﻮﻣﻲ ﻟﻠﻔﻨﻮن؟‬
‫ضع‪ :‬ﺑﻌﺪ ﺑﺪء اﻟﺤﺮب ﻣﻊ إﻳﺮان ﻓﻲ ﺳﺒﺘﻤﺒﺮ ﻣﻦ ﻋﺎم ‪ ،١٩٨٠‬واﺻﻠﺖ اﻟﺤﻜﻮﻣﺔ‬
‫ً‬
‫ﻛﻮﺳﻴﻠﺔ ﻟﺼﺮف ا|ﻧﻈﺎر ﻋﻦ اﻟﺪﻣﺎر اﻟﺤﺎﺻﻞ‬
‫اﻟﻌﺮاﻗﻴﺔ دﻋﻢ اﻟﻤﻌﺎرض اﻟﺪوﻟﻴﺔ‬
‫وﻋﻮاﻗﺐ ﻫﺬا اﻟﺼﺮاع؛ وﻧﻈﺮا ً ﻟﻄﻮل ﻓﺘﺮة اﻟﺤﺮب وﺗﻜﻠﻔﺘﻬﺎ اﻟﻜﺒﻴﺮة‪ ،‬أﺻﺒﺢ ﻣﻦ‬
‫اﻟﺼﻌﺐ اﻻﺳﺘﻤﺮار ﺑﺘﻘﺪﻳﻢ ﻫﺬا اﻟﺪﻋﻢ ﻓﻲ ﻣﻨﺘﺼﻒ اﻟﺜﻤﺎﻧﻴﻨﻴﺎت‪ ،‬ﻓﺘﻢ إﻏﻼق‬
‫اﻟﻤﺮاﻛﺰ اﻟﺜﻘﺎﻓﻴﺔ وﺗﻀﺎءل ﻣﺴﺘﻮى اﻟﺪﻋﻢ اﻟﻤﻘﺪم ﻟﻠﻔﻨﺎﻧﻴﻦ‪.‬‬
‫ب ك‪ :‬أﺗﺎح ﻟﻨﺎ ﻣﻌﺮض »ﻣﻴﻢ ﺟﺎﻟﻴﺮي« ﻓﻲ دﺑﻲ ﻣﺆﺧﺮا ً رؤﻳﺔ ﻟﻮﺣﺘﻚ اﻟﺠﺪارﻳﺔ‬
‫»ﻣﺮﺛﻴﺔ ﻟﻤﺪﻳﻨﺘﻲ اﻟﻤﺤﺎﺻﺮة«‪ ،‬واﻟﺘﻲ ﺗﺤﻤﻞ أﻳﻀ ًﺎ اﺳﻢ »ﻗﺼﻴﺪة رﺛﺎء ﻟﻤﺪﻳﻨﺘﻲ«‪،‬‬
‫ﺣﻴﺚ ﺗﺼﻮر ﻫﺬه اﻟﻠﻮﺣﺔ اﻟﻤﻬﻤﺔ اﻟﺪﻣﺎر اﻟﺬي ﻟﺤﻖ ﺑﺎﻟﻌﺮاق ﺑﻌﺪ ﻏﺰوه ﻣﻦ ﻗﺒﻞ‬
‫اﻟﻘﻮات ا|ﻣﻴﺮﻛﻴﺔ ﻓﻲ ﻋﺎم ‪ .٢٠٠٣‬ﻫﻞ ﺗﻬﺪف ﻣﻦ ﺧﻼل ﻫﺬه اﻟﻠﻮﺣﺔ اﻟﺠﺪارﻳﺔ إﻟﻰ‬
‫وﺿﻊ اﻟﻤﺸﺎﻫﺪ أﻣﺎم ﺻﻮرة ﻛﺒﻴﺮة أوﺳﻊ ﻣﻤﺎ ﻗﺪ ﺗﺴﺘﻄﻴﻊ اﻟﻌﻴﻦ ﻣﺸﺎﻫﺪﺗﻪ‬
‫ﺑﻨﻈﺮة واﺣﺪة؟‬
‫ضع‪ :‬ﺑﺴﺒﺐ ﺣﺠﻢ اﻟﺪﻣﺎر اﻟﻜﺒﻴﺮ‪ ،‬ﻟﻢ ﻳﻜﻦ أﻣﺎﻣﻲ ﺳﻮى ﺧﻴﺎر واﺣﺪ وﻫﻮ أن أﻗﻮم‬
‫ﺑﺮﺳﻢ ﻟﻮﺣﺔ ﻛﺒﻴﺮة ﺗﻌﻜﺲ ﺣﺠﻢ ا|ﻟﻢ وﻓﻘﺪان اﻻف ﻣﻦ أﺑﻨﺎء اﻟﺸﻌﺐ اﻟﻌﺮاﻗﻲ‪.‬‬
‫ واﻻﺣﺘﻔﺎء ﺑﺼﺒﺮ‬،‫ وﺗﻮﺛﻴﻖ ﻣﻌﺎﻧﺎة اﻟﺴﻨﻮات اﻟﻤﺎﺿﻴﺔ‬،‫ﻋﻠﻰ أوﻟﻮﻳﺔ اﻟﺘﻐﻴﻴﺮ‬
.‫وإﻳﻤﺎن اﻟﺸﻌﺐ اﻟﻌﺮاﻗﻲ‬
‫ ﻛﻴﻒ ﺗﻐﻴﺮت ﻓﻠﺴﻔﺘﻚ اﻟﻔﻨﻴﺔ ﺑﻌﺪ ﻫﺬه اﻟﻤﺴﻴﺮة اﻟﻄﻮﻳﻠﺔ؟‬:‫ب ك‬
This is out of respect to the thousands who lost their lives, but
is also to remind the viewer of the plight of the victims, to focus
their attention on the topics raised by the art.
‫ ﻻ ﻳﻬﻤﻨﻲ ﻛﺜﻴﺮا ً اﻻﻧﺨﺮاط ﻓﻲ اﻟﺘﻮﺟﻬﺎت اﻟﺤﺪﻳﺜﺔ ﻟﻠﻔﻦ ﺑﻘﺪر ﻣﺎ أﻓﻀﻞ‬:‫ضع‬
.‫ﺗﺤﺪي ﻧﻔﺴﻲ ﻋﺒﺮ أﻋﻤﺎل ﺟﺪﻳﺪة أﺷﻌﺮ ﺑﺎﻟﺤﺎﺟﺔ إﻟﻰ إﺑﺪاﻋﻬﺎ‬
‫ ﻣﺎذا ﺗﻘﻮل ﻓﻲ ﻋﻤﻠﻴﺎت اﻟﻨﻬﺐ اﻟﺘﻲ ﻃﺎﻟﺖ اﻟﻔﻦ اﻟﻌﺮاﻗﻲ واﻟﻤﺘﺎﺣﻒ‬:‫ب ك‬
‫واﻟﻤﻮاﻗﻊ ا|ﺛﺮﻳﺔ ﻋﻠﻰ ﻧﻄﺎق واﺳﻊ أﺛﻨﺎء اﻻﺣﺘﻼل ا|ﻣﺮﻳﻜﻲ ﻟﻠﻌﺮاق؟‬
PK: In the Art in Iraq series you curated with Charles Pocock,
one prevailing theme was your reflection on the changing
role and utility of arts in relation to the state. Was there a
‫ ﻳﺸﻜﻞ ﺗﺠﺎﻫﻞ ﻗﻮات اﻻﺣﺘﻼل ا|ﻣﺮﻳﻜﻲ @ﻧﺴﺎﻧﻴﺔ وﺗﺮاث اﻟﻌﺮاﻗﻴﻴﻦ‬:‫ضع‬
ً ‫ﻧﻘﻄﺔ ﻣﻬﻤﺔ ﺗﺴﺘﺤﻖ اﻟﺘﻮﻗﻒ ﻋﻨﺪﻫﺎ ﻣﻄﻮ‬
loss of artistic autonomy as the state dominated produc‫ ﻓﻜﻴﻒ ﻟﻤﻦ ﻳﺘﻐﻨﻰ ﺑﺤﻤﻞ ﻟﻮاء‬،‫ﻻ‬
tion of art during the later period of Saddam Hussein’s rule?
‫اﻟﺪﻳﻤﻮﻗﺮاﻃﻴﺔ وﺣﻘﻮق ا@ﻧﺴﺎن أن ﻳﺮﺗﻜﺐ ﻣﺜﻞ ﻫﺬه ا|ﻓﻌﺎل اﻟﻤﺨﺰﻳﺔ اﻟﺘﻲ ﺗﺘﻨﺎﻗﺾ‬
What is the role of art in exile as a
‫ ﻟﻘﺪ أﺛﺎرت اﻟﺤﻮادث اﻟﺒﺸﻌﺔ اﻟﺘﻲ‬.‫ﻣﻊ ﻫﺬه اﻟﻤﺒﺎدئ‬
form of resistance?
‫ﺷﻬﺪﻫﺎ ﺳﺠﻦ أﺑﻮ ﻏﺮﻳﺐ ﺳﺨﻂ اﻟﻜﺜﻴﺮ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ‬
“the domination
DA: Most cultural institutions in Arab countries are very weak
and reflect the interests of their governments. However, since
cultural organisations must work within the limitations of
;their society, any future development of the arts will have to
emerge out of these factors.
oF the State ProduCeS
a lot oF ProPagandiSt
and Shallow worKS”
.‫اﻟﻔﻨﻴﺔ ﻓﻲ اﻟﻤﺴﺘﻘﺒﻞ ﺳﻴﻨﺒﺜﻖ ﻋﻦ ﻫﺬه اﻟﻌﻮاﻣﻞ‬
‫ إﻟﻰ أي ﺣﺪ ﺗﺮﻛﺰ اﻟﻨﻘﺎش ﺣﻮل اﻟﻔﻦ اﻟﻌﺮاﻗﻲ اﻟﺤﺪﻳﺚ ﻓﻲ ﺑﻐﺪاد؟ وﻛﻴﻒ‬:‫ب ك‬
‫ﻳﻤﻜﻦ ﻟﻨﺎ أن ﻧﻔﻬﻢ اﻟﺘﺠﺮﺑﺔ اﻟﻔﻨﻴﺔ ﻓﻲ ﻣﺪن وﻣﻨﺎﻃﻖ أﺧﺮى؟‬
‫ ﻟﻄﺎﻟﻤﺎ ﻛﺎﻧﺖ ﺑﻐﺪاد ﻣﺮﻛﺰا ً ﻟﻠﻨﺸﺎط اﻟﺜﻘﺎﻓﻲ ﺷﺄﻧﻬﺎ ﻓﻲ ذﻟﻚ ﺷﺄن‬:‫ضع‬
‫دﻣﺸﻖ واﻟﻘﺎﻫﺮة؛ وﻏﺎﻟﺒ ًﺎ ﻣﺎ ﺗﻠﻘﻰ اﻟﺘﺠﺮﺑﺔ اﻟﻔﻨﻴﺔ ﺧﺎرج اﻟﻌﺎﺻﻤﺔ اﻻﻫﺘﻤﺎم اﻟﺬي‬
‫ ذﻟﻚ |ن أﻏﻠﺐ ﺣﻜﻮﻣﺎت اﻟﺸﺮق ا|وﺳﻂ ﺗﻮﻟﻲ اﻟﻌﺎﺻﻤﺔ اﻻﻫﺘﻤﺎم‬،‫ﺗﺴﺘﺤﻘﻪ‬
.‫ا|ﻛﺒﺮ ﻓﻲ ﻛﺎﻓﺔ ﺟﻮاﻧﺐ اﻟﺤﻴﺎة‬
PK: What is your reaction to the widespread looting of Iraqi art,
archaeological museums and sites that happened while Iraq
was under American occupation?
DA: The occupation force disregards the humanity and heritage of Iraqis. It presents a view of itself, one of democracy
and human rights that is at odds with its actions. What happened in the Abu Ghraib prison was a shameful act which
PK: To what extent has the discussion of modern art in Iraq
been too focused on Baghdad? How can we understand the
artistic experience in other cities and regions?
DA: The domination of the state produces a lot of a propagandist and shallow works; these are also either neutral
toward current events, or represen‫ﻣﻦ‬
‫اﻟﻜﺜﻴﺮ‬
‫ﺗﻨﺘـﺞ‬
‫اﻟﺪوﻟــﺔ‬
‫»ﻫﻴﻤﻨـﺔ‬
tative of a very personal view, so that
‫ ﻛﻴﻒ ﻳﻤﻜﻦ ﻟﻠﻔﻦ أن ﻳﺘﻄﻮر ﻓﻲ ﻇﻞ ﻏﻴﺎب‬:‫ب ك‬
«‫واﻟﺴﻄﺤﻴﺔ‬
‫اﻟﺘﻤﺠﻴﺪﻳﺔ‬
‫ا^ﻋﻤﺎل‬
after many years it has become dif‫اﻟﻤﺆﺳﺴﺎت اﻟﻔﻨﻴﺔ؟ وﻣﺎ ﻫﻲ اﻟﻨﻤﺎذج وأﺳﺎﻟﻴﺐ اﻟﺘﻌﺒﻴﺮ‬
ficult to find serious works that can
‫ا@ﺑﺪاﻋﻴﺔ اﻟﻤﺘﺎﺣﺔ ﻋﻨﺪﻣﺎ ﻳﺘﻀﺎءل ﻣﺴﺘﻮى اﻟﺪﻋﻢ؟‬
reflect the trauma and anxieties of Iraqi
society.
The
real
role
of
artists in exile is to prioritise change,
‫ ﻻ ﺷﻚ أن ﻣﻌﻈﻢ اﻟﻤﺆﺳﺴﺎت اﻟﺜﻘﺎﻓﻴﺔ اﻟﻌﺮﺑﻴﺔ ﻫﻲ ذات ﺣﻀﻮر ﺿﻌﻴﻒ‬:‫ضع‬
to document these past traumas, but also to celebrate the
‫ وﺑﻤﺎ أن أﻏﻠﺐ اﻟﻤﻨﻈﻤﺎت‬.‫ وﺗﻌﻜﺲ اﻫﺘﻤﺎﻣﺎت اﻟﺤﻜﻮﻣﺎت ﺑﺎﻟﺪرﺟﺔ ا|وﻟﻰ‬،‫ﻋﻤﻮﻣ ًﺎ‬
endurance of the Iraqis.
‫ ﻟﺬا ﻓﺈن أي ﺗﻄﻮر ﻟﻠﺤﺮﻛﺔ‬،‫اﻟﺜﻘﺎﻓﻴﺔ ﻳﻨﺒﻐﻲ ﻋﻠﻴﻬﺎ اﻟﻌﻤﻞ ﺿﻤﻦ ﺣﺪود ﻣﺠﺘﻤﻌﺎﺗﻬﺎ‬
PK: In the absence of institutions, how does the experience of
art shift? What form and expression are found when there is
less open support?
.“‫اﻟﺼﻮرة ﻣﻘﺪﻣﺔ ﻣﻦ ”ﻣﻴﻢ ﺟﺎﻟﻴﺮي‬
.‫ ورﻳﺘﺸﺎرد ﺳﻴﺮا وﺑﻮﺗﻴﺮو‬،‫اﻟﺪوﻟﻴﻴﻦ أﻣﺜﺎل ﻣﺎرك ﻛﻮﻳﻦ‬
‫وأﻋﺘﻘﺪ أن ﺻﻮر أﺑﻮ ﻏﺮﻳﺐ ﺷﻜﻠﺖ ﺻﺪﻣﺔ ﻛﺒﻴﺮة ﻟﻴﺲ‬
‫ﻓﻘﻂ |ﻧﻬﺎ ارﺗﻜﺒﺖ ﺗﺤﺖ ﻣﺮأى وﻣﺴﻤﻊ اﻟﺤﻜﻮﻣﺔ‬
.‫ ﺑﻞ ﻟﻜﻮﻧﻬﺎ ﺗﺼﻮر اﻟﻮﺟﻪ اﻟﺤﻘﻴﻘﻲ ﻟﻼﺣﺘﻼل‬،‫ﻓﺤﺴﺐ‬
many international artists have expressed their outrage against,
from Marc Quinn and Richard Serra to Botero. I think that the
Abu Ghraib images were shocking not simply because they
were authorised and legitimised by the government, but also
because they portray the real face of occupation.
DA: Baghdad is like Cairo or Damascus. It has always been the
centre of cultural activity, and artistic experience from outside
the capital has gone mostly unnoticed. This is because most
governments in the Middle East place greater emphasis on the
capital in all aspects of life.
Exhibition catalogue featuring Mask of the Pretenders (1966) for Dia Al
Azzawi's Retrospective show at the Iraqi Artist Society Hall in Baghdad, 1967.
‫ﻳﺼﻮر‬١٩٦٧ ‫ﻛﺘﺎﻟﻮج اﻟﻤﻌﺮض اﻟﺴﻨﻮي اﻟﺮاﺑﻊ ﻓﻲ ﻗﺎﻋﺔ ﺟﻤﻌﻴﺔ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻌﺮاﻗﻴﻴﻦ ﺑﺒﻐﺪاد ﻋﺎم‬
‫( ﻟﻠﻔﻨﺎن ﺿﻴﺎء اﻟﻌﺰاوي‬١٩٦٦) «‫»ﻗﻨﺎع اﻟﻤﺪﻋﻴﻦ‬
PK: With all of the life experience you have gained, how has
your philosophy of art changed?
DA: The most important thing is not to invest too heavily in
the fashions of the moment. I would rather challenge myself
through new works, which I feel the need to create.
RE: ORIENT 19
Catalogue oF worKS
‫ﻋﻤﺎل‬R‫ﻛﺘﺎﻟﻮج ا‬
ChaFiC abboud
‫ اﻟﺬي‬،‫ ﻣﻼﻣﺢ ا|ﺳﻠﻮب اﻟﻔﻨﻲ ﻟﺸﻔﻴﻖ ﻋﺒّﻮد‬،‫ﻳﻌﻜﺲ اﺳﺘﻜﺸﺎف اﻟﻠﻮن واﻟﻀﻮء‬
‫ اﻟﺬي وﻟﺪ ﻓﻲ‬،‫ وأﻧﺘﺞ ﻋﺒّﻮد‬.‫ﻳﻌﺪ واﺣﺪا ً ﻣﻦ أﺑﺮز اﻟﻔﻨﺎﻧﻴﻦ اﻟﻠﺒﻨﺎﻧﻴﻴﻦ اﻟﻤﻌﺎﺻﺮﻳﻦ‬
‫ ﻣﺠﻤﻮﻋﺔ ﻏﻨﻴﺔ وﻣﺘﻨﻮﻋﺔ ﻣﻦ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ‬،١٩٢٦ ‫ﻧﺎﺣﻴﺔ ﺑﻜﻔﻴﺎ اﻟﻠﺒﻨﺎﻧﻴﺔ ﻋﺎم‬
،‫ واﻟﺨﺰف‬،‫ وا|ﻟﻮان اﻟﻤﺎﺋﻴﺔ‬،‫ واﻟﺤﺒﺮ‬،‫اﻟﺘﻲ ﺗﺮاوﺣﺖ ﻓﻲ أﺷﻜﺎﻟﻬﺎ ﺑﻴﻦ اﻟﺮﺳﻢ اﻟﺰﻳﺘﻲ‬
‫اﻫﺘﻤﺎم ﻋﻤﻴﻖ ﺑﺎﻟﻌﻨﺎﺻﺮ اﻟﻤﺎدﻳﺔ ﻟﻠﻌﻤﻞ‬
‫ وﻳﻨﻢ أﺳﻠﻮب ﻋﺒﻮد ﻋﻦ‬.‫وﻛﺘﺐ اﻟﻔﻨﺎﻧﻴﻦ‬
ٍ
‫ درس ﻋﺒّﻮد ﻓﻲ »ا|ﻛﺎدﻳﻤﻴﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ ﻟﻠﻔﻨﻮن‬.‫اﻟﻔﻨﻲ ﻓﻲ ﻗﻠﺐ اﻟﺤﺪاﺛﺔ اﻟﻌﺎﻟﻤﻴﺔ‬
‫ ﻟﻤﺘﺎﺑﻌﺔ ﺗﺪرﻳﺒﻪ ﻓﻲ ﻣﺮﺳﻢ‬،١٩٤٧ ‫اﻟﺠﻤﻴﻠﺔ« ﻗﺒﻞ أن ﻳﺴﺎﻓﺮ إﻟﻰ ﺑﺎرﻳﺲ ﻋﺎم‬
‫اﻟﺮﺳﺎم اﻟﻠﺒﻨﺎﻧﻲ‬
ّ ‫ ﺣﻴﺚ ﺗﺘﻠﻤﺬ ﻫﻨﺎك ﻋﻠﻰ ﻳﺪ‬،«‫»آﻧﺪرﻳﻪ ﻟﻮت وﻓﺮﻧﺎن ﻟﻴﺠﻴﻪ‬
‫ اﻟﺬي‬،‫ وﻫﻮ أﺣﺪ ﺗﻼﻣﺬة اﻟﺮﺳﺎم اﻟﻠﺒﻨﺎﻧﻲ ﺧﻠﻴﻞ ﺻﻠﻴﺒﻲ‬،‫ﻗﻴﺼﺮ اﻟﺠﻤﻴَﻞ‬
‫ﻳﻌﺪ اﻟﺼﺪﻳﻖ واﻟﺰﻣﻴﻞ اﻟﻤﻘﺮب ﻟﻠﺮﺳﺎم اﻻﻧﻄﺒﺎﻋﻲ ا|ﻣﺮﻳﻜﻲ ﺟﻮن‬
.‫ﺳﻨﻐﺮ ﺳﺎرﺟﻨﺖ‬
‫ ﻏﻴﺮ أﻧﻪ‬،‫ﻛﺮﺳﺎم ﺗﺼﻮﻳﺮي‬
‫ورﻏﻢ أن ﻋﺒّﻮد ﺑﺪأ ﻣﺴﻴﺮﺗﻪ اﻟﻔﻨﻴﺔ‬
ّ
‫ ﺣﺼﻞ‬،١٩٥٢ ‫ وﻓﻲ ﻋﺎم‬.١٩٤٨ ‫ﺗﺤﻮل إﻟﻰ أﺳﻠﻮب اﻟﺘﺠﺮﻳﺪ اﻟﻐﻨﺎﺋﻲ ﻋﺎم‬
‫ﻓﻦ اﻟﺮﺳﻢ واﻟﺤﻔﺮ ﻓﻲ‬
‫ﻣﻨﺤﺔ‬
‫ﻋﻠﻰ‬
ٍ
ٍ
ّ ‫دراﺳﻴﺔ ﻣﻦ اﻟﺤﻜﻮﻣﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ ﻟﺪراﺳﺔ‬
‫ ﺣﺼﻞ ﻋﺒﻮد‬،‫ أﻋﻮام‬٩ ‫ وﺑﻌﺪ‬.‫»اﻟﻤﺪرﺳﺔ اﻟﻮﻃﻨﻴﺔ اﻟﻌﻠﻴﺎ ﻟﻠﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ« ﺑﺒﺎرﻳﺲ‬
‫ »ﺟﺎﺋﺰة ﺻﺎﻟﻮن‬١٩٤٦ ‫ ﻛﻤﺎ ﻧﺎل ﻓﻲ ﻋﺎم‬،‫ﻋﻠﻰ »ﺟﺎﺋﺰة ﻓﻴﻜﺘﻮر ﺷﺎﻛﻴﻪ« اﻟﻔﺮﻧﺴﻴﺔ‬
‫ واﺳﺘﻀﺎف »ﻣﻌﻬﺪ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ« ﻓﻲ‬.‫اﻟﺨﺮﻳﻒ« ﻣﻦ »ﻣﺘﺤﻒ ﺳﺮﺳﻖ« اﻟﻠﺒﻨﺎﻧﻲ‬
‫ واﻟﺘﻲ ﻋﺮﺿﻬﺎ »ﻣﺮﻛﺰ ﺑﻴﺮوت‬،‫ ﻣﻌﺮﺿ ًﺎ ﻳﻀﻢ أﺑﺮز أﻋﻤﺎل ﻋﺒﻮد اﻟﻔﻨﻴﺔ‬٢٠١١ ‫ﺑﺎرﻳﺲ ﻋﺎم‬
ً «‫ﻟﻠﻔﻦ‬
.‫ﻣﺮة أﺧﺮى ﻫﺬا اﻟﻌﺎم‬
Bikfaya, Lebanon, 1926-2004
Kurdish Family, oil on board
46.7 x 29.4 cm, 1950s
Formal explorations in colour and light reflect the artistic
pedigree of one of Lebanon’s most-important modernist
artists, Chafic Abboud. Born in Bikfaya, Lebanon in 1926,
Abboud produced a versatile and prolific body of work that
crosses a variety of media: oil painting, ink, watercolour,
ceramics and artists’ books. His practice reveals an intense
interest in the materiality of the medium at the heart of
international modernism. At the Académie Libanaise
des Beaux-Arts, Abboud studied under Lebanese
painter Cesar Gemayal, a student of Khalil Saleeby,
friend and colleague to American Impressionist
John Singer Sargent.
In 1947, Abboud travelled to Paris, where he continued
his training in the atelier of André Lhote and Fernard Léger.
While he began his career as a figurative painter, Abboud’s
practice transformed into one based in lyrical abstraction by
1948. In 1952, he received a Lebanese government scholarship
to study drawing and engraving at Ecole Nationale Supérieure
des Beaux-Arts in Paris. Nine years later, Abboud was awarded
the French Prix Victor Choquet and in 1964 the Prix du Salon
d’Automne from Lebanon’s Sursock Museum. Paris-based Institute du Monde Arabe hosted a major retrospective of Abboud’s
work in 2011, which Beirut Art Centre featured in 2012.
.‫ ﻣﻘﺪﻣﺔ ﻣﻦ ورﺛﺔ ﺷﻔﻴﻖ ﻋﺒﻮد و ﺟﺎﻟﻴﺮي ﻛﻠﻮد ﻟﻮﻣﺎن ﻓﻲ ﺑﺎرﻳﺲ‬،‫ ﺣﻘﻮق اﻟﻄﺒﻊ واﻟﻨﺸﺮ ﻣﺤﻔﻮﻇﺔ ﺳﺎﻣﻲ ﻛﺮﻛﺒﻲ‬،9691 ‫ﺻﻮرة ﺷﻔﻴﻖ ﻋﺒﻮد‬
٢٠٠٤-١٩٢٦ ،‫ ﻟﺒﻨﺎن‬،‫ﺑﻜﻔﻴﺎ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ورق ﻣﻘﻮى‬،‫ﻋﺎﺋﻠﺔ ﻛﺮدﻳﺔ‬
‫ اﻟﺨﻤﺴﻴﻨﻴﺎت‬،‫ ﺳﻢ‬٢٩,٤ × ٤٦,٧
Photo of Chafic Abboud 1969, © Sami Karkabi. Courtesy Succession Shafic Abboud and Galerie Claude Lemand, Paris.
‫ﺷﻔﻴـــﻖ ﻋ ّﺒـــﻮد‬
RE: ORIENT 23
r ag h e b aya d
‫راﻏــﺐ ﻋﻴـــﺎد‬
‫واﻧﻄﻮت ﻟﻮﺣﺎت ﻋﻴﺎد ﻋﻠﻰ إﺣﺴﺎس ﻣﺘﺠﺪد ﺑﺎﻟﻬﻮﻳﺔ اﻟﻮﻃﻨﻴﺔ اﻟﻤﺼﺮﻳﺔ وﻻﺳﻴﻤﺎ‬
‫ ﺳﻨﻮات إﻟﻰ اﺳﺘﻘﻼل ﻣﺼﺮ ﻋﻦ اﻻﺣﺘﻼل‬٣ ‫ اﻟﺘﻲ أدت ﺑﻌﺪ‬١٩١٩ ‫ﻋﻘﺐ اﻧﺪﻻع ﺛﻮرة ﻋﺎم‬
‫ ﺣﺼﻞ ﻋﻴﺎد‬.‫ وﺣﺪوث ﺗﺤﻮﻻت ﻛﺒﻴﺮة ﻓﻲ اﻟﻤﺸﻬﺪ اﻟﺴﻴﺎﺳﻲ اﻟﻤﺼﺮي‬،‫اﻟﺒﺮﻳﻄﺎﻧﻲ‬
‫ ﻋﻠﻰ أول ﺑﻌﺜﺔ ﺣﻜﻮﻣﻴﺔ ﻟﺪراﺳﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ ﻓﻲ »أﻛﺎدﻳﻤﻴﺔ اﻟﻔﻨﻮن‬،١٩٢٥ ‫ﻋﺎم‬
‫ ﻟﻴﺘﻢ ﺗﻌﻴﻴﻨﻪ ﻓﻮر ﻋﻮدﺗﻪ إﻟﻰ اﻟﻘﺎﻫﺮة ﻣﺪﻳﺮا ً ﻟــــ »ﻛﻠﻴﺔ اﻟﻔﻨﻮن‬،‫اﻟﺠﻤﻴﻠﺔ« ﺑﺮوﻣﺎ‬
‫ وﻳﺮﻛﺰ ﻋﻴﺎد ﻓﻲ ﻟﻮﺣﺘﻪ »أﺳﻮان« ﻋﻠﻰ ﺗﺼﻮﻳﺮ أﻋﻤﺎل اﻟﺒﻨﺎء اﻟﻴﺪوﻳﺔ‬.«‫اﻟﺘﻄﺒﻴﻘﻴﺔ‬
‫ أﺛﺎر اﻟﻔﻨﺎﻧﻮن واﻟﻜﺘﺎب ﻗﻀﻴﺔ‬،‫ وﻓﻲ اﻟﺴﻨﻮات اﻟﻼﺣﻘﺔ‬.‫ﻟﻠﺴﺪ اﻟﻌﺎﻟﻲ ﻓﻲ أﺳﻮان‬
،‫وﻓﻴﺎت اﻟﻌﻤﺎل ﻓﻲ واﺣﺪ ﻣﻦ أﺿﺨﻢ اﻟﻤﺸﺎرﻳﻊ اﻟﻬﻨﺪﺳﻴﺔ ﻓﻲ اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ‬
‫وﻟﻜﻨﻨﺎ ﻧﺠﺪ ﻓﻲ ﻟﻮﺣﺔ ﻋﻴﺎد ﺗﻔﺴﻴﺮا ً ﻋﻤﻴﻘ ًﺎ ﻳﺪﻓﻊ اﻟﻤﺸﺎﻫﺪ إﻟﻰ اﻟﺘﺴﺎؤل ﻋﻦ‬
‫ اﻟﺬي ﺷﺎرك ﻓﻲ ﻣﻌﻈﻢ أﻧﺸﻄﺔ‬،‫ أﺻﺒﺢ ﻋﻴﺎد‬.‫اﻟﻌﻼﻗﺔ ﺑﻴﻦ اﻟﻴﺪ اﻟﻌﺎﻣﻠﺔ واﻟﺔ‬
ً ‫ ﻣﺪﻳﺮا‬،«‫وﻣﻌﺎرض »ﺻﺎﻟﻮن اﻟﻘﺎﻫﺮة« اﻟﺘﻲ ﻧﻈﻤﺘﻬﺎ »ﺟﻤﻌﻴﺔ ﻣﺤﺒﻲ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ‬
.١٩٥٠ ‫ﻟـ »ﻣﺘﺤﻒ اﻟﻔﻦ اﻟﺤﺪﻳﺚ« ﺑﺎﻟﻘﺎﻫﺮة ﻋﺎم‬
A pioneer of Egyptian modern art, Ragheb Ayad endeavoured
to cultivate a distinctly Egyptian artistic identity with works that
portrayed the many animated layers of daily life, local folklore
and popular culture. Ayad, who made important contributions
to expressionism in Egypt, was an influential member of the first
graduating class of Cairo’s School of Fine Arts, started in 1908.
In his early work in the 1920s, Ayad – who used painting, drawing and watercolour – featured landscapes in the North African
country and silhouetted figures painted on cardboard with oil.
A renewed sense of national identity was forming in the backdrop of Ayad’s practice, as the 1919 revolution and subsequent
independence from British occupation three years later transformed Egypt’s political environment. The artist received the
first-ever government scholarship to study art at Rome’s
Accademia di Belle Arti in 1925, after which he returned to Cairo
as director of the College of Applied Arts. Ayad’s 1960s piece
Aswan emphatically depicts the use of manual labour in constructing the Aswan High Dam. In later years, artists and writers
questioned the loss of life on one of the 20th century’s greatest
engineering projects, but in this painting we find an interpretation that leaves the viewer to question the relationship between
labour and machinery. Ayad, who exhibited regularly in Cairo’s
salon scene and exhibitions held by the Society of Art Connoisseurs, became director of Cairo’s Museum of Modern Art in 1950.
The subject of several
government commissioned art projects, the
construction of the Aswan
High Dam became a
defining ambition of Arab
nationalist rhetoric.
‫ﻛﺎن ﺑﻨﺎء اﻟﺴﺪ اﻟﻌﺎﻟﻲ ﻓﻲ‬
‫ ﻟﻠﻌﺪﻳﺪ ﻣﻦ‬J‫أﺳﻮان ﻣﻮﺿﻮﻋ‬
‫اﻟﻤﺸﺎرﻳﻊ اﻟﻔﻨﻴﺔ اﻟﻤﺪﻋﻮﻣﺔ‬
‫ ﻟﻠﺨﻄﺎب‬R‫ وأﺻﺒﺢ رﻣﺰ‬،J‫ﺣﻜﻮﻣﻴ‬
.‫اﻟﻘﻮﻣﻲ اﻟﻌﺮﺑﻲ‬
.‫)أﻗﺼﻰ اﻟﻴﻤﻴﻦ( اﻟﺼﻮرة ﻣﻦ ”ﺟﻴﺘﻲ إﻳﻤﻴﺠﺰ‬
‫ وﻗﺪ ﺳﻌﻰ إﻟﻰ إﺿﻔﺎء‬،‫ﻳﻌﺪ اﻟﻔﻨﺎن راﻏﺐ ﻋﻴﺎد واﺣﺪا ً ﻣﻦ رواد اﻟﻔﻦ اﻟﻤﺼﺮي اﻟﻤﻌﺎﺻﺮ‬
‫ﻫﻮﻳﺔ ﻓﻨﻴﺔ ﻣﺼﺮﻳﺔ ﻣﺘﻤﻴﺰة ﻣﻦ ﺧﻼل أﻋﻤﺎﻟﻪ اﻟﺘﻲ ﺻﻮرت اﻟﻌﺪﻳﺪ ﻣﻦ ﺟﻮاﻧﺐ‬
‫ وﻗﺪ أﺳﻬﻢ ﻋﻴﺎد ﻓﻲ إﺛﺮاء‬.‫ واﻟﺜﻘﺎﻓﺔ اﻟﺸﻌﺒﻴﺔ‬،‫ واﻟﻔﻮﻟﻜﻠﻮر اﻟﻤﺤﻠﻲ‬،‫اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ‬
‫ وﻛﺎن أﺣﺪ أﺑﺮز ﺧﺮﻳﺠﻲ اﻟﺪﻓﻌﺔ ا|وﻟﻰ ﻣﻦ ﻃﻼب‬،‫اﻟﻤﺬﻫﺐ اﻟﺘﻌﺒﻴﺮي اﻟﻔﻨﻲ ﻓﻲ ﻣﺼﺮ‬
.١٩٠٨ ‫»ﻣﺪرﺳﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ« اﻟﺘﻲ ﺗﺄﺳﺴﺖ ﺑﺎﻟﻘﺎﻫﺮة ﻋﺎم‬
‫رﻛﺰت أﻋﻤﺎل ﻋﻴﺎد ا|وﻟﻰ ﻓﻲ ﻋﺸﺮﻳﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ ﻋﻠﻰ رﺳﻢ اﻟﻤﻨﺎﻇﺮ‬
ً ‫ ﻓﻀ‬،‫اﻟﻄﺒﻴﻌﻴﺔ ﻓﻲ ﻣﺼﺮ ﺑﺎﺳﺘﺨﺪام ا|ﻟﻮان اﻟﻤﺎﺋﻴﺔ‬
‫ﻼ ﻋﻦ رﺳﻢ ا|ﺷﺨﺎص ﺑﺎ|ﻟﻮان‬
.‫اﻟﺰﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻮرق اﻟﻤﻘﻮى‬
Cairo, Egypt, 1892-1982
Aswan, oil on board
155 x 55 cm, 1964
(Far right) Photo by Getty Images.
١٩٨٢-١٨٩٢ ،‫ ﻣﺼﺮ‬،‫اﻟﻘﺎﻫﺮة‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ورق ﻣﻘﻮى‬،‫أﺳﻮان‬
١٩٦٤ ،‫ ﺳﻢ‬٥٥ × ١٥٥
RE: ORIENT 25
d i a a l a z z aw i
‫ﺿﻴﺎء اﻟﻌـــ ّﺰاوي‬
،١٩٦٢ ‫وﻳﺤﻤﻞ اﻟﻌﺰاوي ﺷﻬﺎدة ﻓﻲ ﻋﻠﻢ اﺛﺎر ﻣﻦ ﺟﺎﻣﻌﺔ ﺑﻐﺪاد ﻋﺎم‬
‫؛‬١٩٦٤ ‫وأﺧﺮى ﻓﻲ اﻟﺮﺳﻢ ﻣﻦ »ﻣﻌﻬﺪ ﺑﻐﺪاد ﻟﻠﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ« ﻋﺎم‬
‫ ﺣﻴﺚ اﻧﺘﻘﻞ ﺑﻌﺪﻫﺎ‬١٩٧٦ ‫وﻋﻤﻞ ﻓﻲ داﺋﺮة اﺛﺎر اﻟﻌﺮاﻗﻴﺔ ﺣﺘﻰ ﻋﺎم‬
‫ وأﺳﺲ اﻟﻌ ّﺰاوي اﻟﻤﺠﻤﻮﻋﺔ اﻟﻔﻨﻴﺔ اﻟﻌﺮاﻗﻴﺔ »اﻟﺮؤﻳﺔ‬.‫ﻟ¯ﻗﺎﻣﺔ ﻓﻲ ﻟﻨﺪن‬
«‫ وﻛﺎن ﺟﺰءا ً ﻣﻦ اﻟﻤﺸﺮوع اﻟﻔﻨﻲ اﻟﻤﻤﻴﺰ »اﻟﺒﻌﺪ اﻟﻮاﺣﺪ‬،١٩٦٩ ‫اﻟﺠﺪﻳﺪة« ﻓﻲ ﻋﺎم‬
.‫اﻟﺬي أﺳﺴﻪ اﻟﻔﻨﺎن اﻟﺮاﺣﻞ ﺷﺎﻛﺮ ﺣﺴﻦ آل ﺳﻌﻴﺪ‬
‫( ﺟﺰءا ً ﻣﻦ‬١٩٨٥ –١٩٨٢) «‫وﺗﻌﺪ اﻟﻠﻮﺣﺔ اﻟﺠﺪارﻳﺔ اﻟﺸﻬﻴﺮة »ﺻﺒﺮا وﺷﺎﺗﻴﻼ‬
‫ وﻫﻲ ﺗﺠﺴﺪ ﻗﺴﻮة اﻟﻤﺠﺰرة‬،‫ﻣﺠﻤﻮﻋﺔ ﻣﻌﺮض »ﺗﺎﻳﺖ ﻏﺎﻟﻴﺮي« ﻓﻲ ﻟﻨﺪن‬
‫اﻟﻮﺣﺸﻴﺔ اﻟﺘﻲ ارﺗﻜﺒﺘﻬﺎ ﻣﻴﻠﻴﺸﺎ اﻟﻜﺘﺎﺋﺐ اﻟﻠﺒﻨﺎﻧﻴﺔ ﺑﺤﻖ اﻟﻼﺟﺌﻴﻦ اﻟﻔﻠﺴﻄﻴﻨﻴﻴﻦ‬
.١٩٨٢ ‫ﺧﻼل ﻓﺘﺮة اﻻﺟﺘﻴﺎح ا@ﺳﺮاﺋﻴﻠﻲ ﻟﻠﺒﻨﺎن ﻓﻲ ﻋﺎم‬
Poetry and folkloric memory drawn from ancient and contemporary Iraqi and Arab histories resonate in the artwork
of internationally renowned Dia Al Azzawi. Al Azzawi’s acute
understanding of antiquity and cultural heritage is evident
in paintings, sculptures and prints that capture historical
moments, often on a monumental scale. The artist’s awareness
and sensitivity to representations of human suffering and
turmoil carry through his work, as does his attempt to
interlace space and time to demonstrate the eternal
solidarity between different cultures and civilisations. In Mask of the Pretenders (1966), Al Azzawi
embedded symbols of human form, including a
hand and a masked face, against deep and dark
tones of black and gray.
The artist, who received degrees in archaeology from the University of Baghdad in 1962 and fine arts from Baghdad’s Institute
of Fine Arts in 1964, worked at Iraq’s Department of Antiquities
until 1976, and has since resided in London. Founder of the pivotal Iraqi art group New Vision in 1969, he was also part of One
Dimension founded by Shakir Hassan Al Said.
Among Al Azzawi’s renowned works is the iconic mural Sabra
and Shatila (1982-1985), part of the Tate Modern collection,
reflecting on the massacre of Palestinian refugees by the Lebanese Christian Phalangist militia during the 1982 Israeli invasion.
Dia Al Azzawi working in
his studio in 2000.
‫ﺿﻴﺎء اﻟﻌﺰاوي أﺛﻨﺎء اﻟﻌﻤﻞ ﻓﻲ‬
. ٢٠٠٠ ‫ﻣﺮﺳﻤﻪ ﻋﺎم‬
‫ﺗﺴﺘﻤﺪ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ ﻟﻠﻔﻨﺎن اﻟﺘﺸﻜﻴﻠﻲ اﻟﺸﻬﻴﺮ ﺿﻴﺎء اﻟﻌ ّﺰاوي إﻟﻬﺎﻣﻬﺎ ﻣﻦ‬
‫اﻟﺬاﻛﺮة اﻟﺸﻌﺮﻳﺔ واﻟﺸﻌﺒﻴﺔ ﻟﻠﺘﺎرﻳﺦ اﻟﻘﺪﻳﻢ واﻟﻤﻌﺎﺻﺮ ﻓﻲ اﻟﻌﺮاق واﻟﻌﺎﻟﻢ‬
‫ وﻳﺘﺠﻠﻰ ﻓﻬﻢ اﻟﻌﺰاوي اﻟﻌﻤﻴﻖ ﻟ¯رث اﻟﻘﺪﻳﻢ واﻟﺜﻘﺎﻓﻲ ﻣﻦ ﺧﻼل ﻟﻮﺣﺎﺗﻪ‬.‫اﻟﻌﺮﺑﻲ‬
.‫وﻣﻨﺤﻮﺗﺎﺗﻪ وﻣﻄﺒﻮﻋﺎﺗﻪ اﻟﺘﻲ ﻏﺎﻟﺒ ًﺎ ﻣﺎ ﺗﺮﺻﺪ اﻟﻠﺤﻈﺎت اﻟﺘﺎرﻳﺨﻴﺔ ﻋﻠﻰ ﻧﻄﺎق واﺳﻊ‬
‫وﺗﻜﺸﻒ أﻋﻤﺎل اﻟﻌﺰاوي ﻋﻦ وﻋﻴﻪ وﺣﺴﺎﺳﻴﺘﻪ ﻓﻲ ﺗﺠﺴﻴﺪ اﻟﻤﻌﺎﻧﺎة اﻟﺒﺸﺮﻳﺔ‬
‫ وﻋﻦ ﻣﺤﺎوﻟﺘﻪ اﻟﺠﻤﻊ ﺑﻴﻦ أﺑﻌﺎد اﻟﻤﻜﺎن واﻟﺰﻣﺎن ﻟﻠﻜﺸﻒ ﻋﻦ‬،‫واﺿﻄﺮاﺑﺎﺗﻬﺎ‬
‫وﺿﻤﻦ اﻟﻌﺰاوي ﻟﻮﺣﺘﻪ‬
.‫اﻟﺘﻤﺎﺳﻚ ا|ﺑﺪي ﺑﻴﻦ ﻣﺨﺘﻠﻒ اﻟﺤﻀﺎرات واﻟﺜﻘﺎﻓﺎت‬
ّ
‫( ﻋﺪدا ً ﻣﻦ رﻣﻮز اﻟﺸﻜﻞ ا@ﻧﺴﺎﻧﻲ‬١٩٦٦) ‫اﻟﻤﺪﻋﻴﻦ‬
ّ ‫اﻟﺸﻬﻴﺮة ﻗﻨﺎع‬
ً
ً
ً
‫ﺑﻤﺎ ﻓﻲ ذﻟﻚ ﻳﺪا ووﺟﻬﺎ ﻣﻘﻨﻌﺎ ﻣﻊ ﺧﻠﻔﻴﺔ داﻛﻨﺔ وﻋﻤﻴﻘﺔ‬
.‫ﺑﺎﻟﻠﻮﻧﻴﻦ ا|ﺳﻮد واﻟﺮﻣﺎدي‬
Baghdad, Iraq, 1939
Mask of the Pretenders, oil on canvas
86 x 66.5 cm, 1966
1939 ،‫ اﻟﻌﺮاق‬،‫ﺑﻐﺪاد‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻘﻤﺎش‬،‫اﻟﻤﺪﻋﻴﻦ‬
ّ ‫ﻗﻨﺎع‬
١٩٦٦ ،‫ ﺳﻢ‬٦٦,٥ × ٨٦
RE: ORIENT 27
‫‪d i a a l a z z aw i‬‬
‫ﺿﻴـــﺎء اﻟﻌـــ ّﺰاوي‬
‫‪Untitled, oil on canvas‬‬
‫‪61 x 45 cm, 1964‬‬
‫ﺑﺪون ﻋﻨﻮان‪ ،‬أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻘﻤﺎش‬
‫‪ ٤٥ × ٦١‬ﺳﻢ‪١٩٦٤ ،‬‬
‫‪d i a a l a z z aw i‬‬
‫ﺿﻴـــﺎء اﻟﻌـــ ّﺰاوي‬
‫‪Untitled, mixed media on card‬‬
‫‪48 x 43 cm, 1976‬‬
‫ﺑﺪون ﻋﻨﻮان‪ ،‬ﻣﻮاد ﻣﺨﺘﻠﻔﺔ ﻋﻠﻰ ورق ﻣﻘﻮى‬
‫‪ ٤٣ × ٤٨‬ﺳﻢ‪١٩٧٦ ،‬‬
ahmed CherKaoui
‫أﺣﻤـــﺪ اﻟﺸـــﺮﻗﺎوي‬
‫ وﻳﺸﺘﻬﺮ اﻟﺸﺮﻗﺎوي‬.‫ﺗﺘﺠﻠﻰ ﻫﺬه اﻟﺘﺠﺎرب اﻟﺜﻘﺎﻓﻴﺔ ﻓﻲ أﻋﻤﺎل اﻟﺸﺮﻗﺎوي ﺑﻮﺿﻮح‬
‫ إذ ﻧﺠﺢ‬،‫ﺑﻠﻮﺣﺎﺗﻪ اﻟﺰﻳﺘﻴﺔ ﻛﺒﻴﺮة اﻟﺤﺠﻢ اﻟﻐﻨﻴﺔ ﺑﺎﻟﻠﻤﺴﺎت اﻟﺘﺠﺮﻳﺪﻳﺔ واﻟﺮﻣﺰﻳﺔ‬
‫اﻟﻔﻨﺎن ﻓﻲ اﺑﺘﻜﺎر أﺳﻠﻮﺑﻪ اﻟﺠﻤﺎﻟﻲ اﻟﻤﻌﺎﺻﺮ اﻟﺨﺎص ﺑﺎﺳﺘﺨﺪام ﺟﻤﻠﺔ ﻣﻦ‬
‫ اﺑﺘﺪاء ﺑﺎﻟﻮﺷﻢ ا|ﻣﺎزﻳﻐﻲ واﻟﺘﺼﺎﻣﻴﻢ اﻟﺘﻘﻠﻴﺪﻳﺔ ﻟﺴﺠﺎﺟﻴﺪ‬،‫اﻟﻤﻮروﺛﺎت اﻟﻔﻨﻴﺔ‬
‫ واﻧﺘﻬﺎء ﺑﺎ|ﺳﺎﻟﻴﺐ واﻟﻠﻐﺎت اﻟﺮﺳﻤﻴﺔ اﻟﺘﻲ اﻋﺘﻤﺪﻫﺎ رواد اﻟﻔﻦ ﻓﻲ ﺑﻮﻟﻨﺪا‬،‫اﻟﺼﻼة‬
‫ وﻏﺎﻟﺒ ًﺎ ﻣﺎ ﻳﺮﺳﻢ اﻟﺸﺮﻗﺎوي ﻟﻮﺣﺎﺗﻪ‬.‫وﻓﺮﻧﺴﺎ ﺧﻼل اﻟﻘﺮن اﻟﺤﺎدي واﻟﻌﺸﺮﻳﻦ‬
‫ ﻣﻀﻔﻴ ًﺎ ﻋﻠﻰ أﻋﻤﺎﻟﻪ اﻟﻔﻨﻴّﺔ ﻟﻤﺴﺔ ﻣﺎدﻳﺔ ﺗﺪل ﻋﻠﻰ ﺧﺒﺮة ﺣﺴﻴّﺔ‬،‫ﻋﻠﻰ اﻟﺨﻴﺶ‬
‫ ﻛﻤﺎ ﻳﺸﺘﻬﺮ ﻓﻦ اﻟﺸﺮﻗﺎوي ﺑﺎﺳﺘﺨﺪام ﻃﺒﻘﺎت ﻣﻦ اﻟﺮﻣﻮز‬.‫وﺑﺼﺮﻳﺔ واﺿﺤﺔ‬
‫ وﻫﻮ أﺳﻠﻮب‬،‫وا|ﺷﻜﺎل اﻟﻤﺘﻨﺎﻇﺮة ذات ا|ﻟﻮان اﻟﺤﻴﻮﻳﺔ ﻋﻠﻰ ﺧﻠﻔﻴﺔ داﻛﻨﺔ‬
.‫ﻳﻌﺰز ا@ﺣﺴﺎس ﺑﻌﻤﻖ اﻟﻠﻮﺣﺔ‬
Ahmed Cherkaoui is remembered as one of Morocco’s mostprominent modern artists, whose work has been exhibited
worldwide to great acclaim and is held in prominent collections
such as Institute du Monde Arabe and Musee d’Art Moderne,
both in Paris. Born in Boujad, at the foot of the Atlas Mountains,
Cherkaoui began his artistic training with a calligrapher in Casablanca before leaving for Paris shortly following Morocco’s 1956
independence. After studying at the Ecole des Metiers d’Art and
Ecole des Beaux-Arts, he spent a year at Warsaw’s College of
Fine Arts in 1961.
Cherkaoui’s art reflects these cultural experiences. Known for
large canvases that are both abstract and symbolically rich, the
artist created a distinct modernist aesthetic by drawing on a
number of artistic traditions—from Amazigh tattooing and traditional prayer mats to the techniques and formal languages of
21st century Polish and French avant-garde artists. Often painting on burlap, Cherkaoui endows his work with materiality and
texture, suggesting both a tactile and visual experience. His art
is also recognised for its layers of vibrantly coloured symbols
and forms, symmetrically arranged against a dark background,
a technique that enhances the painting’s sense of depth.
Article on Ahmed
Cherkaoui in L’art
Maghrebin, 1961.
‫ﻣﻘﺎﻟﺔ ﻋﻦ أﺣﻤﺪ اﻟﺸﺮﻗﺎوي‬
.١٩٦١ ،‫ﻓﻲ ﻛﺘﺎب اﻟﻔﻦ اﻟﻤﻐﺮﺑﻲ‬
.‫ دﺑﻲ‬،‫)أﻗﺼﻰ اﻟﻴﻤﻴﻦ( اﻟﺼﻮرة ﻣﻘﺪﻣﺔ ﻣﻦ ﻣﻴﻢ ﺟﺎﻟﻴﺮي‬
‫ ﺣﻴﺚ‬،‫ﻳﻌﺘﺒﺮ أﺣﻤﺪ اﻟﺸﺮﻗﺎوي أﺣﺪ أﺑﺮز رواد اﻟﺤﺮﻛﺔ اﻟﻔﻨﻴّﺔ اﻟﻤﻌﺎﺻﺮة ﻓﻲ اﻟﻤﻐﺮب‬
‫ وﻫﻲ ﻣﻌﺮوﺿﺔ ﻓﻲ ﺷﺘﻰ أﻧﺤﺎء اﻟﻌﺎﻟﻢ‬،‫ﻧﺎﻟﺖ أﻋﻤﺎﻟﻪ ا@ﻋﺠﺎب ﻋﻠﻰ ﻧﻄﺎق واﺳﻊ‬
‫وﻣﺪرﺟﺔ ﺿﻤﻦ أﺷﻬﺮ اﻟﻤﺠﻤﻮﻋﺎت اﻟﻔﻨﻴّﺔ ﻓﻲ ”ﻣﻌﻬﺪ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ“ و“ﻣﺘﺤﻒ‬
‫ اﻟﻤﻮﻟﻮد ﻓﻲ ﻣﺪﻳﻨﺔ ﺑﻮﺟﻌﺪ ﻋﻠﻰ ﺳﻔﻮح‬،‫ ﺑﺪأ اﻟﺸﺮﻗﺎوي‬.‫اﻟﻔﻦ اﻟﺤﺪﻳﺚ“ ﻓﻲ ﺑﺎرﻳﺲ‬
‫اﻟﻔﻨﻲ ﻋﻠﻰ ﻳﺪ أﺣﺪ اﻟﺨﻄﺎﻃﻴﻦ ﻓﻲ اﻟﺪار اﻟﺒﻴﻀﺎء ﻗﺒﻞ أن ﻳﻐﺎدر‬
‫ ﺗﺪرﻳﺒﻪ‬،‫ﺟﺒﺎل ا|ﻃﻠﺲ‬
ّ
‫ وﺑﻌﺪ إﺗﻤﺎم دراﺳﺘﻪ ﻓﻲ ”ﻣﺪرﺳﺔ‬.١٩٥٧‫إﻟﻰ ﺑﺎرﻳﺲ ﻋﻘﺐ اﺳﺘﻘﻼل اﻟﻤﻐﺮب ﺳﻨﺔ‬
ً ‫ أﻣﻀﻰ اﻟﻔﻨﺎن ﻋﺎﻣ ًﺎ ﻛﺎﻣ‬،“‫اﻟﻔﻨﻮن اﻟﻤﻬﻨﻴﺔ“ و“ﻣﺪرﺳﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ‬
‫ﻼ ﻓﻲ ”ﻛﻠﻴﺔ‬
.١٩٦١ ‫اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ“ ﺑﻤﺪﻳﻨﺔ وارﺳﻮ ﺳﻨﺔ‬
Boujad, Morocco, 1934-1967
Les Miroirs Rouges, oil on jute on board
23.5 x 28.5 cm, 1965
(Far right) Photo courtesy of Meem Gallery, Dubai.
1967-1934 ،‫ اﻟﻤﻐﺮب‬،‫ﺑﻮﺟﻌﺪ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﺧﻴﺶ ﻋﻠﻰ ورق ﻣﻘﻮى‬،‫اﻟﻤﺮاﻳﺎ اﻟﺤﻤﺮاء‬
1965 ،‫ ﺳﻢ‬٢٣٫٥ × ٢٨٫٥
RE: ORIENT 33
naSSir Choura
‫ﻧﺼﻴــﺮ ﺷـــﻮرى‬
1992-1920 ‫ ﺳﻮرﻳﺎ‬،‫دﻣﺸﻖ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻘﻤﺎش‬،‫ﻣﻨﻈﺮ‬
‫ اﻟﺴﺘﻴﻨﻴﺎت‬، ‫ ﺳﻢ‬220 × 220
‫ﻳﺠﻤﻊ اﻟﻔﻨﺎن ﻧﺼﻴﺮ ﺷﻮرى ﻓﻲ أﺳﻠﻮﺑﻪ اﻟﻔﻨﻲ ﺑﻴﻦ ﻟﻤﺴﺎت اﻟﺤﺪاﺛﺔ واﻻﻧﻄﺒﺎﻋﻴﺔ‬
‫ وﻗﺪ ﻟﻌﺐ دورا ً رﺋﻴﺴﻴ ًﺎ ﻓﻲ ﺗﻄﻮر اﻟﻔﻦ اﻟﺴﻮري اﻟﻤﻌﺎﺻﺮ وﻇﻬﻮر ﻣﺸﻬﺪ‬،‫اﻟﺘﺄﻣﻠﻴﺔ‬
.‫ﻓﻨﻲ ﺣﻴﻮي ﻓﻲ دﻣﺸﻖ ﺧﻼل ﺧﻤﺴﻴﻨﻴﺎت وﺳﺘﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬
‫وﻗﺪ اﻧﺘﻘﻞ ﺷﻮرى ﺧﻼل ﻣﺴﻴﺮﺗﻪ اﻟﻤﻬﻨﻴﺔ ﻣﻦ رﺳﻢ اﻟﻤﺸﺎﻫﺪ اﻻﻧﻄﺒﺎﻋﻴﺔ‬
“‫ درس ﺷﻮرى اﻟﻔﻦ ﻓﻲ ”ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ‬.‫إﻟﻰ ا|ﺳﻠﻮب اﻟﺘﺠﺮﻳﺪي اﻟﺒﺤﺖ‬
‫ وﺗﺄﺛﺮ إﻟﻰ ﺣﺪ ﻛﺒﻴﺮ ﺑﺄﻋﻤﺎل اﻟﺮﺳﺎم‬،١٩٤٧-١٩٤٣ ‫ﺑﺎﻟﻘﺎﻫﺮة ﺧﻼل اﻟﻔﺘﺮة اﻟﻤﻤﺘﺪة ﺑﻴﻦ‬
‫ وﻗﺪ اﻋﺘﻤﺪ ا|ﺳﻠﻮب اﻟﺘﺠﺮﻳﺪي ﺑﻌﺪ ﺗﻌﺎوﻧﻪ‬.‫اﻻﻧﻄﺒﺎﻋﻲ اﻟﺴﻮري ﻣﻴﺸﻴﻞ ﻛﺮﺷﺔ‬
١٩٧٠ ‫ ﻟﻴﻌﻮد ﺑﻌﺪﻫﺎ إﻟﻰ ا|ﺳﻠﻮب اﻟﺘﻤﺜﻴﻠﻲ ﻋﺎم‬،١٩٦٤ ‫ﻣﻊ اﻟﻔﻨﺎن ﻓﺎﺗﺢ اﻟﻤﺪرس ﻋﺎم‬
‫ وﺟﺎءت أﻋﻤﺎﻟﻪ ﺧﻼل ﻓﺘﺮة اﻟﺜﻤﺎﻧﻴﻨﻴﺎت وﻟﻴﺪة اﻟﻔﺘﺮﺗﻴﻦ‬.‫ﻣﻊ اﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ اﻟﻮاﻗﻌﻴﺔ‬
‫ ﻋﻦ أﺳﻠﻮﺑﻪ‬،١٩٦٠ ‫ وﻋﺒﺮت ﻟﻮﺣﺔ ”ﻣﻨﻈﺮ“ اﻟﺘﻲ رﺳﻤﻬﺎ ﺷﻮرى ﻋﺎم‬.‫اﻟﺴﺎﺑﻘﺘﻴﻦ‬
‫ ﺣﻴﺚ ﺻﻮرت ﻫﺬه اﻟﻠﻮﺣﺔ ﻣﻨﻈﺮ‬،‫اﻟﻔﻨﻲ ُﻗﺒﻴﻞ اﻧﺘﻘﺎﻟﻪ إﻟﻰ اﻟﻤﺪرﺳﺔ اﻟﺘﺠﺮﻳﺪﻳﺔ‬
‫ﺑﺤﻴﺮة ﻫﺎدﺋﺔ ﺗﻜﺎد ﺗﺨﻠﻮ ﻣﻦ ﻣﻌﺎﻟﻢ اﻟﺤﺮﻛﺔ ﺳﻮى ﻟﻤﺮﻛﺐ ﺑﻌﻴﺪ؛ وﺗﺒﺪو آﺛﺎر ﺧﻴﻮط‬
ً
‫ﻣﻨﻌﻜﺴﺔ ﻋﻠﻰ ﺳﻄﺢ اﻟﺒﺤﻴﺮة وﺳﻂ ﻟﻮن اﻟﺴﻤﺎء اﻟﻤﺎﺋﻞ إﻟﻰ‬
‫اﻟﺸﻤﺲ اﻟﻐﺎرﺑﺔ‬
.‫اﻟﺼﻔﺮة واﻟﺠﺒﺎل ﺑﻨﻔﺴﺠﻴﺔ اﻟﻠﻮن‬
،١٩٦٠ ‫وﻳﻌﺘﺒﺮ ﺷﻮرى أﺣﺪ ﻣﺆﺳﺴﻲ ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ ﺑﺠﺎﻣﻌﺔ دﻣﺸﻖ ﻋﺎم‬
‫ وﻳﻀﻢ اﻟﻤﺘﺤﻒ اﻟﻮﻃﻨﻲ اﻟﺴﻮري ﺑﻌﻀ ًﺎ‬.‫ ﻋﺎﻣ ًﺎ‬٣٠ ‫وﻋﻤﻞ ﻓﻴﻬﺎ ﻣﺪرﺳ ًﺎ ﻟﻤﺪة‬
.‫ﻣﻦ أﻫﻢ أﻋﻤﺎﻟﻪ‬
Damascus, Syria, 1920-1992
Landscape, oil on canvas
220 x 220 cm, 1960s
Combining modernist sensibilities with a reflective impressionist style, artist Nassir Choura was instrumental to the development of Syrian modern art and the emergence of a dynamic art
scene in Damascus in the 1950s and 1960s.
Choura’s technique transformed over the course of his career
from literal impressionistic landscapes to pure abstraction.
Influenced by Syrian impressionist artist Michel Kirsha,
Choura, who studied painting at the School of Fine Arts in Cairo
from 1943-1947, introduced abstraction after his collaboration
with Fateh Al Moudarres in 1964. He returned to a representational style in 1970 with an emphasis on realism, while his 1980s
works expressed a combination of both periods. The painting
Landscape (1960) captures Choura’s technique on the cusp of
his transition into abstraction. Rendering an idyllic lake scene,
the artist instills a tranquil setting that hints at only a slight gesture of movement with a distant sailboat. Traces of a lingering
sunset are revealed in warm reflections in the water, sweeping
mauve in the mountains and a yellowing sky.
Choura was part of the founding faculty at the University of
Damascus’ fine arts department in 1960, teaching there for 30
years. Syria’s National Museum of Antiquities features some
of his work.
RE: ORIENT 35
haFidh al droubi
‫ﺣـﺎﻓﻆ اﻟــﺪروﺑــﻲ‬
‫ﻣﻠﺼﻖ ﻣﻄﺒﻮع ﻋﻠﻰ اﻟﺤﺮﻳﺮ‬
‫ﻟﻤﻌﺮض ﺟﻤﺎﻋﺔ اﻻﻧﻄﺒﺎﻋﻴﻴﻦ‬
‫اﻟﺘﻲ أﺳﺴﻬﺎ ﺣﺎﻓﻆ اﻟﺪروﺑﻲ ﻓﻲ‬
.١٩٥٣ ‫ﻋﺎم‬
Al Droubi’s own paintings are characterised by an
interest in scenes of Iraqi daily life, executed in a
technique that moved from an Impressionist focus
on the effects of light on form to one that experimented with Cubism’s fragmentation of space.
Like many of his predecessors and colleagues in the Arab
world, Al Droubi travelled abroad to Rome in 1936 for training. In 1940, he returned to Baghdad for a few months before
continuing his studies at London’s Goldsmith College, graduating in 1950. Upon his return to the Iraqi capital, he was an
active member of the city’s growing art scene, chairing the
Iraqi Plastic Artists for six years and serving as the dean of
the Academy of Fine Arts in Baghdad.
‫ ﺣﻴﺚ‬،‫وﺳﺎر اﻟﺪروﺑﻲ ﻋﻠﻰ درب ﻣﻦ ﺳﺒﻘﻪ ﻣﻦ ﻓﻨﺎﻧﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‬
١٩٤٠ ‫ ﺛﻢ ﻋﺎد إﻟﻰ ﺑﻐﺪاد ﻋﺎم‬.‫ إﻟﻰ روﻣﺎ ﺑﻬﺪف اﻟﺘﺪرﻳﺐ‬١٩٣٦ ‫ﺳﺎﻓﺮ ﻋﺎم‬
‫ﻟﻴﻤﻜﺚ ﻓﻴﻬﺎ ﻋﺪة أﺷﻬﺮ ﻗﺒﻞ أن ﻳﺴﺎﻓﺮ إﻟﻰ ﻟﻨﺪن ﻟﻤﺘﺎﺑﻌﺔ دراﺳﺘﻪ ﻓﻲ »ﺟﺎﻣﻌﺔ‬
‫ وﻟﻌﺐ اﻟﺪروﺑﻲ ﺑﻌﺪ ﻋﻮدﺗﻪ اﻟﻰ اﻟﻌﺎﺻﻤﺔ‬.١٩٥٠ ‫ﺟﻮﻟﺪ ﺳﻤﻴﺚ« اﻟﺘﻲ ﺗﺨﺮج ﻣﻨﻬﺎ ﻋﺎم‬
‫ ﻛﻤﺎ ﺗﺮأس »ﺟﻤﻌﻴﺔ‬،‫اﻟﻌﺮاﻗﻴﺔ دورا ً ﻣﺆﺛﺮا ً ﻓﻲ اﻟﻤﺸﻬﺪ اﻟﻔﻨﻲ اﻟﻤﺘﻨﺎﻣﻲ ﻟﻠﻤﺪﻳﻨﺔ‬
‫ ﻟﻴﺘﻘﻠﺪ ﻓﻴﻤﺎ ﺑﻌﺪ ﻣﻨﺼﺐ ﻋﻤﻴﺪ‬،‫اﻟﻔﻨﺎﻧﻴﻦ اﻟﺘﺸﻜﻴﻠﻴﻴﻦ اﻟﻌﺮاﻗﻴﻴﻦ« ﻟﺴﺖ دورات‬
.‫»أﻛﺎدﻳﻤﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ« ﻓﻲ ﺑﻐﺪاد‬
Silkscreen exhibition
poster for the
Impressionists Group
founded by Hafidh Al
Droubi in 1953.
‫وﺗﻌﻜﺲ ﻟﻮﺣﺎت اﻟﺪروﺑﻲ اﻫﺘﻤﺎﻣﻪ اﻟﺸﺪﻳﺪ ﺑﺘﺼﻮﻳﺮ ﻣﺸﺎﻫﺪ اﻟﺤﻴﺎة‬
‫ وذﻟﻚ ﻣﻦ ﺧﻼل اﺳﺘﺨﺪام ﺗﻘﻨﻴﺔ ﺧﺎﺻﺔ ﺗﻨﺘﻘﻞ‬،‫اﻟﻴﻮﻣﻴﺔ اﻟﻌﺮاﻗﻴﺔ‬
‫ﻣﻦ اﻟﺘﺮﻛﻴﺰ اﻻﻧﻄﺒﺎﻋﻲ ﻟﺘﺄﺛﻴﺮات ا@ﺿﺎءة ﻋﻠﻰ اﻟﺸﻜﻞ اﻟﻤﺮﺳﻮم إﻟﻰ‬
.‫ﺗﺠﺰﺋﺔ اﻟﻤﺴﺎﺣﺔ اﻟﺘﻲ ﻳﻤﺘﺎز ﺑﻬﺎ ا|ﺳﻠﻮب اﻟﺘﻜﻌﻴﺒﻲ‬
Born in Baghdad in 1914, Hafidh Al Droubi made several
important contributions to the history of modern art in Iraq,
including the establishment of Baghdad’s first free atelier
in 1942 and the 1953 founding of the artist collective, The
Impressionists. Dedicated to art education more so than a
particular style or mode of working, the Impressionists
encompassed artists practicing in a variety of styles
and techniques.
Photo courtesy of Meem Gallery, Dubai.
‫ ﺑﺈﺛﺮاء ﺗﺎرﻳﺦ اﻟﻔﻦ اﻟﻤﻌﺎﺻﺮ‬،١٩١٤ ‫ اﻟﻤﻮﻟﻮد ﻓﻲ ﺑﻐﺪاد ﻋﺎم‬،‫ﺳﺎﻫﻢ ﺣﺎﻓﻆ اﻟﺪروﺑﻲ‬
‫ ﻛﻤﺎ أﺳﺲ‬،١٩٤٢ ‫ﻓﻲ اﻟﻌﺮاق؛ ﺣﻴﺚ ﻗﺎم ﺑﺘﺄﺳﻴﺲ أول ﻣﺮﺳﻢ ﺣﺮ ﻓﻲ ﺑﻐﺪاد ﻋﺎم‬
‫ وﻋﻤﻠﺖ ﺟﻤﺎﻋﺔ ا@ﻧﻄﺒﺎﻋﻴﻴﻦ ﻓﻲ ﻣﺠﺎل‬.١٩٥٣ ‫»ﺟﻤﺎﻋﺔ اﻻﻧﻄﺒﺎﻋﻴﻴﻦ« اﻟﻔﻨﻴﺔ ﻋﺎم‬
‫ وﺿﻤﺖ‬،‫ﺗﺪرﻳﺲ اﻟﻔﻦ دون اﻻﻟﺘﺰام ﺑﺄﺳﻠﻮب ﻣﺤﺪد أو ﻧﻤﻂ ﺧﺎص ﻓﻲ اﻟﻌﻤﻞ‬
‫اﻟﻤﺠﻤﻮﻋﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻤﻨﺘﻤﻴﻦ اﻟﻰ ﻣﺪارس ﻓﻨﻴﺔ ﻣﺘﻨﻮﻋﺔ ﺗﺨﺘﻠﻒ‬
.‫ﺑﺄﺳﺎﻟﻴﺒﻬﺎ وﺗﻘﻨﻴﺎﺗﻬﺎ اﻟﻔﻨﻴﺔ اﻟﻤﺘﺒﻌﺔ‬
Baghdad, Iraq, 1914-1991
Watermelon Sellers, oil on canvas
61 x 41 cm, 1969
١٩٩١-١٩١٤ ،‫ اﻟﻌﺮاق‬،‫ﺑﻐﺪاد‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻘﻤﺎش‬،‫ﺑﺎﻋﺔ اﻟﺒﻄﻴﺦ‬
١٩٦٩ ،‫ ﺳﻢ‬٤١ × ٦١
RE: ORIENT 37
i S m a i l Fat ta h
‫إﺳﻤــﺎﻋﻴﻞ ﻓﺘـــﺎح‬
‫ وﺗﺘﻠﻤﺬ ﻋﻠﻰ ﻳﺪ اﻟﻔﻨﺎن‬،١٩٥٨ ‫درس ﻓﺘﺎح ﻓﻲ ”ﻣﻌﻬﺪ ﺑﻐﺪاد ﻟﻠﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ“ ﻋﺎم‬
‫ ﻛﻤﺎ درس اﻟﻨﺤﺖ ﻓﻲ ”أﻛﺎدﻳﻤﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ“ وﻓﻦ‬،‫اﻟﻌﺮاﻗﻲ ﺟﻮاد ﺳﻠﻴﻢ‬
“‫ ﻋﺎد ﻓﺘﺎح إﻟﻰ ”أﻛﺎدﻳﻤﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ‬.‫اﻟﺨﺰف ﺑﻤﻌﻬﺪ ”ﺳﺎن ﺟﺎﻛﻮﻣﻮ“ ﻓﻲ روﻣﺎ‬
‫ ﻛﺎن‬.١٩٦٩ ‫ واﻟﻨﺤﺖ ﻻﺣﻘ ًﺎ ﻓﻲ ﻋﺎم‬،١٩٦٥ ‫ﻟﻴﻘﻮم ﺑﺘﺪرﻳﺲ ﻓﻦ اﻟﺨﺰف ﻓﻴﻬﺎ ﻋﺎم‬
.“‫ﻓﺘﺎح ﻋﻀﻮا ً ﻣﺆﺳﺴ ًﺎ ﻟـ ــ“ﺟﻤﺎﻋﺔ اﻟﺮؤﻳﺔ اﻟﺠﺪﻳﺪة“ و“ﺟﻤﻌﻴﺔ ﺑﻐﺪاد ﻟﻠﻔﻦ اﻟﺤﺪﻳﺚ‬
‫ ﻗﺮرت اﻟﻌﺎﺋﻠﺔ ﻧﻘﻠﻪ إﻟﻰ‬،‫ﺑﻌﺪ اﻛﺘﺸﺎف إﺻﺎﺑﺘﻪ ﺑﺎﻟﺴﺮﻃﺎن أﺛﻨﺎء إﻗﺎﻣﺘﻪ ﻓﻲ ﻗﻄﺮ‬
‫ وﻟﻜﻦ اﻟﻤﻨﻴﺔ ﻋﺎﺟﻠﺘﻪ ﺑﻌﺪ ﺳﺎﻋﺎت ﻣﻦ‬،‫اﻟﻌﺮاق واﺳﺘﺄﺟﺮت ﻃﺎﺋﺮة ﻟﺘﻠﻚ اﻟﻐﺎﻳﺔ‬
.‫وﺻﻮﻟﻪ إﻟﻰ ﺗﺮاب وﻃﻨﻪ‬
Rendering the inexpressible qualities of human consciousness through sculpture and paint, Ismail Fattah blurs the lines
between abstraction and representation. Born in Basra, Iraq,
Fattah is best known for designing Nusb Al-Shahid, (Monument
of the Martyr) in Baghdad: a public artwork commissioned in
the early 1980s to commemorate fallen soldiers of the 197988 Iran-Iraq War. Often mingling form with intangible ideas of
human consciousness, Fattah’s artwork presents a dilemma
between figuration and its negation. In his untitled 1965 sculpture, Fattah depicts limb-like supports for a rectangular core,
obscuring any decisive representation. Although he worked primarily in sculpture, close friend and artist Dia Al Azzawi recalls
Fattah’s painting practice “relieved a spiritual tension” when he
couldn’t realise ideas through three-dimensional form.
A student of prolific Iraqi artist Jewad Salim at Baghdad’s Institute of Fine Arts in 1958, Fattah studied sculpture at Accademia
di Belle Arti and ceramics at San Jacmo Academy in Rome. He
returned to teach ceramics at the Academy of Fine Arts in 1965
and later sculpture in 1969. Fattah was a founding member of
influential collective New Vision and the Baghdad Modern Art
Group. Fattah was diagnosed with cancer while living in Qatar
near the end of his life. When Fattah’s condition worsened, his
family chartered a plane for him to return to Iraq, where he
passed away hours after his arrival.
.‫ ﻓﻨﻲ ﻛﻬﺮﺑﺎء وأﻧﻈﻤﺔ ﻃﻴﺮان ﻣﻦ اﻟﻔﺌﺔ ا|وﻟﻰ‬،‫)أﻗﺼﻰ اﻟﻴﻤﻴﻦ( اﻟﺼﻮرة ﻣﻘﺪﻣﺔ ﻣﻦ اﻟﺒﺤﺮﻳﺔ ا|ﻣﺮﻳﻜﻴﺔ ﺑﻌﺪﺳﺔ رﻳﻜﺲ ﺳﺎﻛﻴﺖ‬
‫ﻳﻌﻤﺪ اﻟﻔﻨﺎن اﻟﻌﺮاﻗﻲ إﺳﻤﺎﻋﻴﻞ ﻓﺘﺎح إﻟﻰ ﻃﻤﺲ اﻟﺨﻄﻮط ﺑﺤﻴﺚ ﺗﻀﻴﻊ ﻣﻼﻣﺤﻬﺎ‬
‫ ﻟﻴﻌﺒﺮ ﺑﺬﻟﻚ ﻣﻦ ﺧﻼل اﻟﻨﺤﺖ واﻟﺮﺳﻢ ﻋﻦ ﺧﺼﺎﺋﺺ اﻟﻮﺟﺪان‬،‫ﺑﻴﻦ اﻟﺘﺠﺮﻳﺪ واﻟﻮاﻗﻊ‬
‫ اﻟﻤﻮﻟﻮد ﻓﻲ ﻣﺪﻳﻨﺔ اﻟﺒﺼﺮة‬،‫وﻳﺸﺘﻬﺮ ﻓﺘﺎح‬.‫ا@ﻧﺴﺎﻧﻲ اﻟﺘﻲ ﻳﺼﻌﺐ اﻟﺘﻌﺒﻴﺮ ﻋﻨﻬﺎ‬
‫ وﻫﻮ ﻋﻤﻞ‬،‫ ﺑﺘﺼﺎﻣﻴﻤﻪ اﻟﻤﻌﻤﺎرﻳﺔ ﻣﺜﻞ ”ﻧﺼﺐ اﻟﺸﻬﻴﺪ“ ﻓﻲ ﺑﻐﺪاد‬،١٩٣٨ ‫ﻋﺎم‬
‫ﻓﻨﻲ ﺟﻤﺎﻫﻴﺮي ﺑﺎﺷﺮه ﻣﻄﻠﻊ ﺛﻤﺎﻧﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ ﺗﺨﻠﻴﺪا ً |رواح ﺷﻬﺪاء‬
‫ وﺗﻌﺘﺒﺮ أﻋﻤﺎل‬.١٩٨٨ - ١٩٧٩ ‫اﻟﺤﺮب اﻟﻌﺮاﻗﻴﺔ ا@ﻳﺮاﻧﻴﺔ اﻟﺘﻲ دارت رﺣﺎﻫﺎ ﺑﻴﻦ ﻋﺎﻣﻲ‬
‫ ﻋﺒﺮ أﺳﻠﻮب ﻳﻤﺘﺰج‬،‫ﻓﺘﺎح ﺑﻤﺜﺎﺑﺔ إﺷﻜﺎﻟﻴﺔ ﺗﺠﻤﻊ ﻣﺎ ﺑﻴﻦ اﻟﺘﺸﻜﻴﻞ وﻧﻘﻴﻀﻪ‬
‫ وﻣﻦ ﺧﻼل ﻣﻨﺤﻮﺗﺔ ”ﺑﺪون‬.‫ﻓﻴﻪ اﻟﺸﻜﻞ اﻟﻤﺎدي ﻣﻊ ا|ﻓﻜﺎر اﻟﺘﺠﺮﻳﺪﻳﺔ اﻟﻮﺟﺪاﻧﻴﺔ‬
‫ ﻳﻘﺪم ﻓﺘﺎح ﻗﻮاﻣ ًﺎ ﻣﺴﺘﻄﻴﻞ اﻟﺸﻜﻞ ﻳﻨﺘﺼﺐ ﻋﻠﻰ‬،١٩٦٥ ‫ﻋﻨﻮان“ اﻟﺘﻲ أﻧﺠﺰﻫﺎ ﻋﺎم‬
‫ ﻃﺎﻣﺴ ًﺎ ﻣﻼﻣﺢ ﻫﺬا اﻟﺘﺸﻜﻴﻞ ﺑﺤﻴﺚ ﻳﺘﻌﺬر اﻟﺒﺖ ﻓﻲ‬،‫دﻋﺎﻣﺔ ﺗﺸﺒﻪ ﺳﺎق ا@ﻧﺴﺎن‬
‫ إﻻ أن ﺻﺪﻳﻘﻪ اﻟﻤﻘﺮب‬،‫ وﻣﻊ أن ﻓﺘﺎح اﺷﺘﻐﻞ ﻓﻲ اﻟﻨﺤﺖ ﺑﺼﻮرة رﺋﻴﺴﻴّﺔ‬.‫ﻣﺎﻫﻴﺘﻬﺎ‬
“‫اﻟﻔﻨﺎن ﺿﻴﺎء اﻟﻌﺰاوي ﻳﺘﺬﻛﺮ أﻧﻪ ﻛﺎن ﻳﻠﺠﺄ إﻟﻰ اﻟﺮﺳﻢ ﻟﻠﺘﺮوﻳﺢ ﻋﻦ ”اﻟﻀﻐﻂ اﻟﻨﻔﺴﻲ‬
.‫ﻋﻨﺪﻣﺎ ﻳﺘﻌﺬر ﻋﻠﻴﻪ اﻟﺘﻌﺒﻴﺮ ﻋﻦ أﻓﻜﺎره ﻋﺒﺮ اﻟﻤﺠﺴﻤﺎت ﺛﻼﺛﻴﺔ ا|ﺑﻌﺎد‬
Basra, Iraq, 1938-2004
Untitled, bronze
36.3 x 16.8 x 26.5 cm, 1965
(Far right) U.S. Navy photo by Aviation Electrician’s Mate 1st Class Rex Sackett.
٢٠٠٤ -١٩٣٨ ‫ اﻟﻌﺮاق‬،‫اﻟﺒﺼﺮة‬
‫ ﺑﺮوﻧﺰ‬،‫ﺑﺪون ﻋﻨﻮان‬
١٩٦٥ ،،‫ ﺳﻢ‬٢٦،٥ × ١٦،٨ × ٣٦،٣
One of Fattah’s bestknown works is the
Monument of the Martyr
in Baghdad, Iraq.
The artwork was
comimissioned to honour soldiers who died in
the Iran-Iraq war.
‫أﺣﺪ أﺷﻬﺮ أﻋﻤﺎل ﻓﺘﺎح ﻫﻮ‬
،‫”ﻧﺼﺐ اﻟﺸﻬﻴﺪ“ ﻓﻲ ﺑﻐﺪاد‬
‫ ﺗﻢ إﻃﻼق اﻟﻌﻤﻞ‬.‫اﻟﻌﺮاق‬
‫ ﻟﻠﺠﻨﻮد اﻟﺬﻳﻦ ﻗﻀﻮا ﻓﻲ‬J‫ﺗﻜﺮﻳﻤ‬
.‫اﻟﺤﺮب اﻳﺮاﻧﻴﺔ اﻟﻌﺮاﻗﻴﺔ‬
RE: ORIENT 39
abdel Kader guermaz
‫ﻋﺒـــﺪاﻟﻘــﺎدر ﻏــﺮﻣــﺎز‬
١٩٩٦-١٩١٩ ،‫ اﻟﺠﺰاﺋﺮ‬،‫وﻫﺮان‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻘﻤﺎش‬،‫ﺣﻠﻢ‬
١٩٧٥ ،‫ ﺳﻢ‬٩٢٫٥ x ٧٣،٥
‫ﺗﻌﺪ ا|ﺷﻜﺎل اﻟﺘﺠﺮﻳﺪﻳﺔ وا|ﻟﻮان اﻟﻬﺎدﺋﺔ ﺻﺎﺣﺒﺔ اﻟﺤﻀﻮر ا|ﻛﺒﺮ ﻓﻲ ﻟﻮﺣﺎت اﻟﻔﻨﺎن‬
‫ﻋﺒﺪ اﻟﻘﺎدر ﻏﺮﻣﺎز اﻟﺬي ﻳﻌﺘﺒﺮ واﺣﺪا ً ﻣﻦ أﺑﺮز ﻻﻋﺒﻲ اﻟﺤﺮﻛﺔ اﻟﻔﻨﻴﺔ اﻟﻤﻌﺎﺻﺮة ﻓﻲ‬
‫ وﻫﺎﺟﺮ إﻟﻰ‬،١٩٤٠ ‫ وﺗﺨﺮج ﻏﺮﻣﺎز ﻣﻦ "ﻣﺪرﺳﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ ﺑﻮﻫﺮان" ﻋﺎم‬.‫اﻟﺠﺰاﺋﺮ‬
.‫ إﺑﺎن ﺛﻮرة اﻻﺳﺘﻘﻼل اﻟﺠﺰاﺋﺮﻳﺔ اﻟﺘﻲ اﻧﺘﺼﺮت ﻓﻲ اﻟﻌﺎﻟﻢ اﻟﺘﺎﻟﻲ‬١٩٦١ ‫ﺑﺎرﻳﺲ ﻓﻲ ﻋﺎم‬
‫ وأﻗﺎم ﺻﺪاﻗﺎت ﻣﻊ أﺑﺮز اﻟﻔﻨﺎﻧﻴﻦ‬،‫وارﺗﺒﻂ اﺳﻢ ﻏﺮﻣﺎز ﺑـ "ﻣﺪرﺳﺔ ﺑﺎرﻳﺲ" اﻟﻔﻨﻴﺔ‬
‫ وارﺗﻜﺰ أﺳﻠﻮب‬.‫ وﻓﻴﻴﺮا دا ﺳﻴﻠﻔﺎ‬،‫ وﺑﺎزﻳﻦ‬،‫ وﻣﺎﻧﻴﺴﻴﻴﻪ‬،‫اﻟﻔﺮﻧﺴﻴﻴﻦ ﻣﺜﻞ ﺑﻴﺴﻴﻴﺮ‬
‫ﻏﺮﻣﺎز اﻟﻔﻨﻲ ﻋﻠﻰ ﻣﻔﺎﻫﻴﻢ اﻟﺪﻗﺔ واﻟﺒﺴﺎﻃﺔ اﻟﺘﻲ ﺳﺎﻋﺪﺗﻪ ﻋﻠﻰ ﺗﺠﺴﻴﺪ ﺗﺄﻣﻼﺗﻪ‬
."‫ ﺣﻴﺚ أﻃﻠﻖ ﻋﻠﻴﻪ اﻟﻨﺎﻗﺪ اﻟﻔﺮﻧﺴﻲ ﺑﻴﻴﺮ راي ﻟﻘﺐ "رﺳﺎم اﻟﺼﻤﺖ واﻟﻀﻮء‬،‫اﻟﺮوﺣﻴَﺔ‬
‫ﻃﺎغ‬
‫وﻓﻲ ﺣﻴﻦ ﻳﻐﻠﺐ ﻋﻠﻰ أﻋﻤﺎل ﻏﺮﻣﺎز اﻟﻠﻮﺣﺎت أﺣﺎدﻳﺔ اﻟﻠﻮن ﻣﻊ ﺣﻀﻮر‬
ٍ
‫ ﻏﻴﺮ أﻧﻪ ﺑﺪأ ﺑﺈدﺧﺎل ﺑﻌﺾ ا|ﺷﻜﺎل اﻟﻤﺤﺴﻮﺳﺔ ودرﺟﺎت ا|ﻟﻮان‬،‫ﻟﻠﻮن ا|ﺑﻴﺾ‬
‫ ﻛﻤﺎ ﺗﺒﺪو ﺗﺮاﻛﻴﺒﻪ اﻟﻔﻨﻴﺔ ﻋﻠﻰ ﺷﻜﻞ‬.١٩٧٥ ‫اﻟﺨﻔﻴﻔﺔ ﺿﻤﻦ ﻟﻮﺣﺎﺗﻪ ﺑﻌﺪ ﻋﺎم‬
‫ واﻟﺘﻲ ﺗﺆﻛﺪ ﻋﻠﻰ‬،‫ﻣﺸﺎﻫﺪ ﻃﺒﻴﻌﻴﺔ ﺧﻔﻴﻔﺔ ﺗﺸﺒﻪ اﻟﻔﻀﺎءات اﻟﺪاﺧﻠﻴَﺔ واﻟﺨﺎرﺟﻴَﺔ‬
‫( اﻟﺨﺼﺎﺋﺺ‬Rêve) "‫وﺗﺠﺴﺪ ﻟﻮﺣﺔ "ﺣﻠﻢ‬
.‫اﻟﻄﺒﻴﻌﺔ اﻟﺰاﺋﻠﺔ ﻟﻠﻤﺴﺎﻓﺎت ﻋﺒﺮ اﻟﺰﻣﻦ‬
ّ
‫ وﺑﻌﺪ اﻟﻨﺠﺎح اﻟﻜﺒﻴﺮ اﻟﺬي ﺣﻘﻘﻪ ﺧﻼل‬.‫اﻟﺠﺴﻤﺎﻧﻴﺔ ﻟﺠﺬع ووﺟﻪ إﺣﺪى اﻟﻨﺴﺎء‬
‫ ﺑﺪأت‬،‫اﻟﻔﺘﺮة اﻟﻤﻤﺘﺪة ﺑﻴﻦ أواﺧﺮ ﺳﺘﻴﻨﻴﺎت وﻣﻄﻠﻊ ﺳﺒﻌﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬
‫ﺷﻬﺮة ﻏﺮﻣﺎز ﺑﺎﻻﻧﺤﺴﺎر ﻋﻘﺐ إﻏﻼق ﺟﺎﻟﻴﺮي "إوﻧﺘﺮﻳﻤﻮﻧﺪ" اﻟﺬي ﻛﺎن ﻳﻤﺜﻠﻪ ﻓﻲ‬
‫؛ وواﺻﻞ ﻏﺮﻣﺎز إﻧﺘﺎج ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ اﻟﺘﻲ ﺗﺠﺴﺪ ﻣﺎﻫﻴﺔ اﻟﻌﻼﻗﺔ اﻟﻐﻴﺒﻴﺔ‬١٩٨١ ‫ﻋﺎم‬
‫؛ وﻗﺪ ﻋُ ﺮﺿﺖ أﻋﻤﺎﻟﻪ‬١٩٩٦ ‫ﺑﻴﻦ اﻟﻌﺎﻟﻤﻴﻦ اﻟﻤﺮﺋﻲ وﻏﻴﺮ اﻟﻤﺮﺋﻲ ﺣﺘﻰ وﻓﺎﺗﻪ ﻓﻲ ﻋﺎم‬
‫ ﻛﻤﺎ أﻋﻴﺪ ﺗﺴﻠﻴﻂ اﻟﻀﻮء ﻋﻠﻰ ﻣﺴﻴﺮﺗﻪ ﺑﻌﺪ‬،‫ﻓﻲ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﺘﺎﺣﻒ اﻟﻌﺎﻟﻤﻴّﺔ‬
.‫وﻓﺎﺗﻪ ﻋﺒﺮ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻌﺎرض واﻟﻤﻘﺎﻻت‬
Mascara, Algeria, 1919-1996
Rêve, oil on canvas
73.5 x 92.5 cm, 1975
Abstract shapes and subdued colour schemes dominate the
canvases of Abdel Kader Guermaz, a major player in Algeria’s
modern art movement. Guermaz, who graduated from l’École
des Beaux-Arts d’Oran in 1940, emigrated to Paris in 1961 amid
his home country’s eruptive struggle for independence from
France, which succeeded the following year. The artist, who
became associated with School of Paris, befriended French artists such as Bissière, Manessier, Bazaine and Vieira da Silva. Subtlety and minimalism characterise Guermaz’ artistic approach,
giving form to his spiritual meditations and inspiring French art
critic Pierre Rey to call him the painter of silence and light.
Although his most-disciplined work consists of textured white
monochrome paintings, Guermaz began incorporating discernible shapes and softened segments of colour after 1975. His
careful compositions emerge as weightless and timeless landscapes evoking both interior and exterior spaces. His work Rêve
features, perhaps inadvertently, an anthropomorphic shape
resembling a woman in profile. Attaining critical success in the
late 1960s and early 1970s, the artist was largely forgotten upon
the 1981 closure of gallery Entremonde that represented him.
Until his death in 1996, Guermaz continued to produce work
probing the metaphysical relationship between visible world and
the unseen. His artwork, featured in international museum collections, has been rediscovered in posthumous shows and texts.
RE: ORIENT 41
Paul guiragoSSian
‫ﺑـﻮل ﻏﻴﺮاﻏــﻮﺳﻴــﺎن‬
‫درس ﻏﻴﺮاﻏﻮﺳﻴﺎن اﻟﺮﺳﻢ ﻓﻲ“اﺳﺘﻮدﻳﻮ ﻳﺎرﻛﻮن“ ﺑﺎﻟﻘﺪس ﻋﺎم‬
‫ إﺑﺎن اﻟﺤﺮب اﻟﻌﺮﺑﻴﺔ‬١٩٤٨ ‫ ﻗﺒﻞ أن ﻳﻬﺎﺟﺮ إﻟﻰ ﻟﺒﻨﺎن ﻋﺎم‬١٩٤٢
‫ ورﻛﺰ اﻟﻔﻨﺎن ﻓﻲ أﻋﻤﺎﻟﻪ ﻋﻠﻰ ﻣﻮﺿﻮع ا|م واﻟﻄﻔﻞ‬.‫ا@ﺳﺮاﺋﻴﻠﻴﺔ‬
‫ﻣﻦ ﺧﻼل اﺳﺘﺨﺪاﻣﻪ ﻃﻴﻔ ًﺎ ﻏﻨﻴ ًﺎ ﻣﻦ ا|ﻟﻮان وا@ﻳﻤﺎءات اﻟﺘﻲ ﺗُﻈﻬﺮ‬
‫ﻣﺪى ﺗﻘﺪﻳﺮه ﻟﺪور اﻟﻤﺮأة اﻟﺠﻮﻫﺮي ﻓﻲ اﻟﺤﻔﺎظ ﻋﻠﻰ ا|ﺧﻼق اﻟﻔﺎﺿﻠﺔ‬
.‫ﺿﻤﻦ أي ﻣﺠﺘﻤﻊ‬
‫ ”ﻟﻠﻤﺮأة ﺣﻀﻮر ﻗﻮي ﻓﻲ ﺟﻤﻴﻊ ﻟﻮﺣﺎﺗﻲ‬:‫وﻛﺘﺐ ﻏﻴﺮاﻏﻮﺳﻴﺎن ﺣﻮل ﻫﺬا اﻟﻤﻮﺿﻮع‬
‫ورﺳﻮﻣﺎﺗﻲ |ﻧﻬﺎ ﺗﺮﻣﺰ إﻟﻰ اﻟﺤﺐ واﻟﻄﻔﻮﻟﺔ واﻟﻤﻌﺎﻧﺎة واﻟﺴﻼم؛ ﻓﻬﻲ ﺗﺨﺸﻰ ﻋﻠﻰ‬
‫اﺑﻨﻬﺎ وزوﺟﻬﺎ ﻣﻦ اﻟﺬﻫﺎب إﻟﻰ اﻟﺤﺮب“ وﻳﺬﻛﺮ أن ﻏﻴﺮاﻏﻮﺳﻴﺎن ﺗﺎﺑﻊ دراﺳﺘﻪ ﺑﻤﻨﺤﺔ‬
‫ وﻓﺎز ﺑﺎﻟﺠﺎﺋﺰة ا|وﻟﻰ ﻋﺎم‬،١٩٥٧‫ﻣﻦ“ أﻛﺎدﻳﻤﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ“ ﻓﻲ ﻓﻠﻮرﻧﺴﺎ ﻋﺎم‬
‫ وﺗﻮﻓﻲ ﻏﻴﺮاﻏﻮﺳﻴﺎن‬.١٩٦١ ‫ ﻓﻲ ﺑﻴﻨﺎﻟﻲ ﺑﺎرﻳﺲ و ﻓﻲ ﺑﻴﻨﺎﻟﻲ ﻓﻠﻮرﻧﺴﺎ ﺑﺎﻟﻌﺎم‬١٩٥٨
.‫ وأﻗﻴﻤﺖ ﻟﻪ ﺟﻨﺎزة رﺳﻤﻴﺔ ﻓﻲ ﻟﺒﻨﺎن‬١٩٩٣ ‫ﻋﺎم‬
The paintings and drawings of renowned artist Paul Guiragossian reflect the nuances of the human condition with radiant
complexity through colour, form and careful abstraction. Born
into a family of Armenian descent in Jerusalem, Guiragossian’s
art reflected on themes of Palestinian exile, collective struggle,
kinship and representations of the maternal. His line drawings
exhibit masterful renderings of gesture with fluid outlines of
clothed figures, while his paintings reckon human form
through thick, elongated brush strokes.
In 1942, the artist studied painting at Jerusalem’s
Yarkon Studio before emigrating to Lebanon in
1948 during the Arab-Israeli war. The son of a single
mother, Guiragossian revisits the theme of mother
and child in a vivid spectrum of hues and gestures, showing his reverence for the roles of women as virtuous caretakers at the crux of every society. On this theme, Guiragossian
wrote, “The woman is constantly present in my paintings,
my drawings, because she is Love, Childhood, Suffering and
Peace. She is the one who is against sending her son and
husband to wars.”
Guiragossian, who pursued a scholarship at the Academic di
Belle Arti in Florence in 1957, won First Prize at the 1958 Paris
Biennale and the 1961 Florence Biennale. Lebanon held a state
funeral in Beirut for Guiragossian upon his death in 1993.
Photo courtesy of the Paul Guiragossian Foundation.
‫ﺗﻌﻜﺲ رﺳﻮﻣﺎت وﻟﻮﺣﺎت اﻟﻔﻨﺎن اﻟﺸﻬﻴﺮ ﺑﻮل ﻏﻴﺮاﻏﻮﺳﻴﺎن اﻟﻔﻮارق اﻟﺪﻗﻴﻘﺔ‬
‫ وا|ﺳﻠﻮب اﻟﺘﺠﺮﻳﺪي‬،‫ وا|ﺷﻜﺎل‬،‫ﻟﻠﺤﺎﻟﺔ ا@ﻧﺴﺎﻧﻴﺔ وﺗﻌﻘﻴﺪاﺗﻬﺎ ﻣﻦ ﺧﻼل ا|ﻟﻮان‬
‫ اﻟﻤﻮﻟﻮد ﻟﻌﺎﺋﻠﺔ ﻣﻦ أﺻﻮل أرﻣﻨﻴﺔ ﻓﻲ‬،‫ وﺗﻌﻜﺲ أﻋﻤﺎل ﻏﻴﺮاﻏﻮﺳﻴﺎن‬.‫اﻟﺪﻗﻴﻖ‬
،‫ واﻟﻨﻀﺎل اﻟﺠﻤﺎﻋﻲ‬،‫ ﻣﻮاﺿﻴﻊ ﻋﺪﻳﺪة ﺗﻤﺤﻮرت ﺣﻮل اﻟﻤﻨﻔﻰ اﻟﻔﻠﺴﻄﻴﻨﻲ‬،‫اﻟﻘﺪس‬
‫ وﺗﻌﻜﺲ رﺳﻮﻣﺎت ﻏﻴﺮاﻏﻮﺳﻴﺎن إﻳﻤﺎءات ﻋﺎﻟﻴﺔ اﻟﺤﺮﻓﻴﺔ‬.‫ وا|ﻣﻮﻣﺔ‬،‫وﺻﻠﺔ اﻟﻘﺮاﺑﺔ‬
‫ ﻓﻲ ﺣﻴﻦ ﺗﺼﻮر ﻟﻮﺣﺎﺗﻪ‬،‫ﻣﻊ ﻣﻌﺎﻟﻢ ﻟﻮﻧﻴﺔ ﺗﺠﺴﺪ ﺷﺨﺼﻴﺎت ﺗﺮﺗﺪي اﻟﻤﻼﺑﺲ‬
.‫اﻟﻤﻈﻬﺮ ا@ﻧﺴﺎﻧﻲ اﻟﺨﺎرﺟﻲ ﻣﻦ ﺧﻼل ﺿﺮﺑﺎت اﻟﻔﺮﺷﺎة اﻟﺴﻤﻴﻜﺔ واﻟﻤﻤﺪودة‬
Jerusalem, Palestine, 1926–1993
Madonna and Child, oil on canvas
71 x 59 cm, Early 1960s
.‫ﺟﻤﻴﻊ اﻟﺤﻘﻮق ﻣﺤﻔﻮﻇﺔ ﻟﻤﺆﺳﺴﺔ ﺑﻮل ﻏﻴﺮاﻏﻮﺳﻴﺎن‬
١٩٩٣-١٩٢٦ ‫ اﻟﻘﺪس‬،‫ﻓﻠﺴﻄﻴﻦ‬
‫ أأﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻘﻤﺎش‬،‫اﻟﻌﺬراء واﻟﻄﻔﻞ‬
‫ أواﺋﻞ اﻟﺴﺘﻴﻨﻴﺎت‬، ‫ ﺳﻢ‬٥٩ x ٧١
RE: ORIENT 43
‫‪Paul Guiragossian’s‬‬
‫‪Group With Flowers taken‬‬
‫‪by the artist in his studio.‬‬
‫‪Paul guiragoSSian‬‬
‫ﺻﻮرة ﻟﻠﻮﺣﺔ ﻣﺠﻤﻮﻋﺔ ﻣﻊ‬
‫ازﻫﺎر ﻟﻠﻔﻨﺎن ﺑﻮل ﻏﻴﺮاﻏﻮﺳﻴﺎن‬
‫اﻟﺘﻘﻄﻬﺎ ﺑﻨﻔﺴﻪ ﻓﻲ ﻣﺮﺳﻤﻪ‪.‬‬
‫ﺑـﻮل ﻏﻴﺮاﻏــﻮﺳﻴــﺎن‬
‫‪ ٤٥ x ٥٥‬ﺳﻢ‪١٩٦٣ ،‬‬
‫)أﻗﺼﻰ اﻟﻴﻤﻴﻦ( ﺟﻤﻴﻊ اﻟﺤﻘﻮق ﻣﺤﻔﻮﻇﺔ ﻟﻤﺆﺳﺴﺔ ﺑﻮل ﻏﻴﺮاﻏﻮﺳﻴﺎن‪.‬‬
‫‪(Far right) Photo courtesy of the Paul Guiragossian Foundation.‬‬
‫‪Group with Flowers, Oil on canvas‬‬
‫‪55 x 45 cm, 1963‬‬
‫ﻣﺠﻤﻮﻋﺔ ﻣﻊ ازﻫﺎر‪ ،‬أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻘﻤﺎش‬
Kadhim haidar
‫اﻟﻔﻨﻴﺔ اﻟﺘﺤﻮﻻت اﻟﻤﻬﻤﺔ اﻟﺘﻲ ﻃﺮأت ﻋﻠﻰ اﻟﺒﻴﺌﺔ اﻟﺴﻴﺎﺳﻴﺔ اﻟﻌﺮاﻗﻴﺔ ﺧﻼل‬
‫ ﺑﻤﺎ ﻓﻴﻬﺎ اﻻﻧﻘﻼب اﻟﻌﺴﻜﺮي اﻟﺬي أﻃﺎح ﺑﺎﻟﻨﻈﺎم‬،‫اﻟﺨﻤﺴﻴﻨﺎت واﻟﺴﺘﻴﻨﺎت‬
‫ وﻣﻨﺢ اﻟﺴﻠﻄﺔ ﻟﺤﺰب اﻟﺒﻌﺚ اﻟﺬي ﻳﻌﺪ ﻣﻦ اﻟﻤﺠﻤﻮﻋﺎت‬،١٩٥٨ ‫اﻟﻤﻠﻜﻲ ﻋﺎم‬
‫اﻟﻘﻮﻣﻴﺔ اﻟﻌﻠﻤﺎﻧﻴﺔ واﻟﻌﺮﺑﻴﺔ اﻟﺘﻲ أﺗﺎﺣﺖ اﻟﻔﺮﺻﺔ ﻟﺼﻌﻮد ﻧﻈﺎم ﺻﺪام ﺣﺴﻴﻦ إﻟﻰ‬
.‫ﺳﺪة اﻟﺤﻜﻢ ﻓﻲ أواﺧﺮ اﻟﺴﺒﻌﻴﻨﺎت‬
«‫وارﺗﻜﺰت ﺳﻠﺴﻠﺔ اﻟﻠﻮﺣﺎت ا|ﺷﻬﺮ ﻓﻲ ﻣﺴﻴﺮة ﺣﻴﺪر اﻟﻔﻨﻴﺔ »ﻣﻠﺤﻤﺔ اﻟﺸﻬﻴﺪ‬
ً
‫ﻟﻮﺣﺔ‬
‫ وﺗﺘﻀﻤﻦ ﻫﺬه اﻟﺴﻠﺴﻠﺔ‬.١٩٦٥ ‫ﻋﻠﻰ ﻗﺼﻴﺪة ﻛﺘﺒﻬﺎ ﺑﻨﻔﺴﻪ ﻓﻲ ﻋﺎم‬
- (‫ﻣﺴﺘﻮﺣﺎة ﻣﻦ واﻗﻌﺔ اﺳﺘﺸﻬﺎد ا@ﻣﺎم اﻟﺤﺴﻴﻦ ﺑﻦ ﻋﻠﻲ )ﻋﻠﻴﻬﻤﺎ اﻟﺴﻼم‬
‫ﺣﻔﻴﺪ اﻟﻨﺒﻲ ﻣﺤﻤﺪ »ﺻﻠﻰ ا ﻋﻠﻴﻪ وﺳﻠﻢ« – ﻓﻲ ﻛﺮﺑﻼء؛ وأﻋﺎد ﺣﻴﺪر ﻣﻦ ﺧﻼل‬
‫إﺣﻴﺎء ﻟﺬﻛﺮى اﺳﺘﺸﻬﺎد‬
‫ﻫﺬه اﻟﻠﻮﺣﺔ ﺳﺮد ﻃﻘﻮس اﻟﺤﺪاد اﻟﺴﻨﻮي اﻟﺘﻲ ﺗﻘﺎم‬
ً
‫وﻛﺂﺑﺔ ﻣﻦ ﺧﻼل‬
‫ﺣﺰن‬
ٍ
ٍ ‫ا@ﻣﺎم اﻟﺤﺴﻴﻦ »ﻋﻠﻴﻪ اﻟﺴﻼم« وﻣﺎ ﻳﻜﺘﻨﻔﻬﺎ ﻣﻦ أﺟﻮاء‬
.‫ﻋﺪد ﻣﻦ اﻟﺨﻴﻮل اﻟﺒﻴﻀﺎء اﻟﺒﺎﻛﻴﺔ‬
ٍ ‫رﺳﻢ‬
‫ واﺻﻞ ﺣﻴﺪر دراﺳﺔ ﻓ ّﻨﻲ‬،‫وﺑﻌﺪ دراﺳﺘﻪ اﻟﻔﻦ ﻓﻲ ﺑﻐﺪاد ﻓﺘﺮة اﻟﺨﻤﺴﻴﻨﻴﺎت‬
.‫اﻟﺘﺼﻤﻴﻢ اﻟﻤﺴﺮﺣﻲ واﻟﺮﺳﻢ اﻟﺠﺮاﻓﻴﻜﻲ ﻓﻲ »ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﻤﻠﻜﻴﺔ« ﺑﻠﻨﺪن‬
‫ ﻟﻴﺆﺳﺲ ﻗﺴﻢ اﻟﺘﺼﻤﻴﻢ ﻓﻲ »ﻣﻌﻬﺪ اﻟﻔﻨﻮن‬،١٩٦٢ ‫ﺛﻢ ﻋﺎد إﻟﻰ اﻟﻌﺮاق ﻓﻲ ﻋﺎم‬
.‫ وﻳﺘﺮأس ﻗﺴﻢ اﻟﻔﻨﻮن اﻟﺒﺼﺮﻳﺔ ﻓﻴﻪ‬،‫اﻟﺠﻤﻴﻠﺔ« ﺑﺒﻐﺪاد‬
Weaving together poetry, allegory and pastoral landscapes, the
artwork of Kadim Haidar captures the murmurs of Iraqi sociopolitical history through symbolism and metaphor. The writer,
poet and artist painted in a variety of styles, from natural landscapes of Iraq to abstract still life and figures. His work examined important shifts in Iraq’s political environment in the 1950s
and 1960s, including the military-backed coup that toppled the
monarchy in 1958, giving power to the Ba’ath party, a Pan-Arab
secular nationalist group that gave form to the rise of Saddam
Hussein’s regime in the late ‘70s.
One of Haidar’s most-notable series of paintings, Melhamet
Al Shahidi (The Martyr’s Epic), was based on a poem he wrote
in 1965. The series, including a painting in this exhibition, references the Battle of Karbala that brought the defeat of Al
Husayn ibn Ali by the Umayyad, a grandson of the Prophet
Muhammad (pbuh). Haidar re-contexualises the melancholy
of annual mourning rituals performed to commemorate Al
Husayn’s martyrdom with luminous weeping white horses.
After studying art in Baghdad in the 1950s, Haidar pursued
theatre design and graphics at the Royal School of Art and
Graphics in London. He returned to Iraq in 1962, founding the
department of design at the Institute of Fine Arts and chairing
its visual arts department.
.‫ ﺻﻮرة ﻟﻼﺳﺘﺨﺪام اﻟﻌﺎم‬،‫)أﻗﺼﻰ اﻟﻴﻤﻴﻦ( ﻣﺠﻤﻮﻋﺔ ﻣﺘﺤﻒ ﺑﺮوﻛﻠﻴﻦ‬
‫ﺗﻤﺰج أﻋﻤﺎل اﻟﻔﻨﺎن اﻟﺘﺸﻜﻴﻠﻲ اﻟﻌﺮاﻗﻲ ﻛﺎﻇﻢ ﺣﻴﺪر ﺑﻴﻦ اﻟﺸﻌﺮ واﻟﺮﻣﺰﻳﺔ‬
‫ وﻫﻲ ﺗﺼﻮر ﻟﻐﻂ اﻟﺘﺎرﻳﺦ اﻻﺟﺘﻤﺎﻋﻲ واﻟﺴﻴﺎﺳﻲ ﻟﻠﻌﺮاق ﻣﻦ‬،‫واﻟﻤﺸﺎﻫﺪ اﻟﺮﻳﻔﻴﺔ‬
‫ واﻋﺘﻤﺪ اﻟﻜﺎﺗﺐ واﻟﺸﺎﻋﺮ واﻟﻔﻨﺎن ﺣﻴﺪر ﻓﻲ ﻟﻮﺣﺎﺗﻪ‬.‫ﺧﻼل اﻟﺮﻣﺰﻳﺔ واﻻﺳﺘﻌﺎرة‬
ً
ً
،‫ﻣﺘﻨﻮﻋﺔ ﻣﻦ ا|ﺳﺎﻟﻴﺐ اﻟﻔﻨﻴﺔ ﺑﺪءا ً ﻣﻦ اﻟﻤﺸﺎﻫﺪ اﻟﻄﺒﻴﻌﻴﺔ ﻟﻠﻌﺮاق‬
‫ﻣﺠﻤﻮﻋﺔ‬
‫ وﺗﺮﺻﺪ أﻋﻤﺎل ﺣﻴﺪر‬.‫وﺻﻮ ًﻻ إﻟﻰ اﻟﺤﻴﺎة واﻟﺸﺨﺼﻴﺎت اﻟﺴﺎﻛﻨﺔ واﻟﻤﺠﺮدة‬
Martyr’s Epic, oil on canvas
91 x 127 cm, 1965
(Far right) Photo from the Collection of Brooklyn Museum, public domain image.
١٩٨٥ – ١٩٣٢ ،‫ ﺑﻐﺪاد‬،‫اﻟﻌﺮاق‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﻗﻤﺎش‬،‫ﻣﻠﺤﻤﺔ اﻟﺸﻬﻴﺪ‬
١٩٦٥ ،‫ ﺳﻢ‬١٢٧ × ٩١
Artist Abbas Al Musavi
depicts the martyrdom
of Imam Husayn, leader
of the Shi’a Muslims and
grandson of the Prophet
Muhammad (pbuh) in
the his late 19th-early
20th century piece Battle
of Karbala (680 ce [10th
of Muharram, ah 61]).
‫اﻟﻔﻨﺎن ﻋﺒﺎس اﻟﻤﻮﺳﻮي‬
‫ﻳﺼﻮر اﺳﺘﺸﻬﺎد اﻣﺎم‬
‫ إﻣﺎم‬،(‫اﻟﺤﺴﻴﻦ )ﻋﻠﻴﻪ اﻟﺴﻼم‬
‫اﻟﻤﺴﻠﻤﻴﻦ اﻟﺸﻴﻌﺔ وﺣﻔﻴﺪ‬
‫ ﻓﻲ ﻟﻮﺣﺘﻪ‬،(‫اﻟﺮﺳﻮل ﻣﺤﻤﺪ )ص‬
٦٨٠ ‫”ﻣﻌﺮﻛﺔ ﻛﺮﺑﻼء“ )ﺳﻨﺔ‬
‫ ﻫـ( واﻟﺘﻲ‬٦١ ‫ ﻣﺤﺮم‬١٠ -‫ﻣﻴﻼدي‬
‫أﻧﺠﺰﻫﺎ أواﺧﺮ اﻟﻘﺮن اﻟﺘﺎﺳﻊ ﻋﺸﺮ‬
.‫وﻣﻄﻠﻊ اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ‬
RE: ORIENT 47
Kadhim haidar
‫أﺧﺒﺮﻧﺎ ﻛﻴﻒ ﺣﺪث ذﻟﻚ‬
‫أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﻗﻤﺎش‬
١٩٥٧ ،‫ ﺳﻢ‬٦٥ × ٩٦
Il Nous a Dit Comment Cela s’est passé
Oil on canvas
96 x 65 cm, 1957
RE: ORIENT 49
adam henein
‫آدم ﺣﻨﻴــﻦ‬
After receiving a degree in Sculpture from the School of Fine
Arts in Cairo in 1953, Henein continued his training in Munich
and Paris, where he lived for 25 years until 1996. Since returning to Egypt, Henein has contributed greatly to the country’s
cultural landscape, particularly in Aswan, where he founded
the city’s annual International Sculpture Symposium. Henein
has received numerous awards for his work, which has been
exhibited in Egypt, the Arab world, Europe and New York’s
Metropolitan Museum of Art.
‫آدم ﺣﻨﻴﻦ ﻣﻊ زوﺟﺘﻪ اﻟﺮاﺣﻠﺔ‬
‫ﻋﻔﺎف اﻟﺪﻳﺐ ﻓﻲ ﻣﺮﻛﺰ ﺑﻮﻣﺒﻴﺪو‬
.١٩٩٠ ،‫ﺑﺒﺎرﻳﺲ‬
.‫)أﻗﺼﻰ اﻟﻴﻤﻴﻦ( اﻟﺼﻮرة ﻣﻘﺪﻣﺔ ﻣﻦ آدم ﺣﻨﻴﻦ‬
‫وﺑﻌﺪ ﺣﺼﻮﻟﻪ ﻋﻠﻰ ﺷﻬﺎدة ﺟﺎﻣﻌﻴﺔ ﻓﻲ ﻓﻦ اﻟﻨﺤﺖ ﻣﻦ »ﻛﻠﻴﺔ اﻟﻔﻨﻮن‬
‫ ﺣﻴﺚ‬،‫ ﺗﺎﺑﻊ ﺣﻨﻴﻦ ﺗﺪرﻳﺒﻪ ﻓﻲ ﻣﺪﻳﻨﺘﻲ ﻣﻴﻮﻧﺦ وﺑﺎرﻳﺲ‬،١٩٥٣ ‫اﻟﺠﻤﻴﻠﺔ« ﺑﺎﻟﻘﺎﻫﺮة ﻋﺎم‬
‫ ﺳﺎﻫﻢ ﺣﻨﻴﻦ ﺑﺸﻜﻞ‬،‫ وﺑﻌﺪ ﻋﻮدﺗﻪ إﻟﻰ وﻃﻨﻪ ا|م‬.١٩٩٦ ‫ ﺳﻨﺔ ﺣﺘﻰ ﻋﺎم‬٢٥ ‫أﻗﺎم‬
‫ وﻻﺳﻴﻤﺎ ﻣﺪﻳﻨﺔ أﺳﻮان اﻟﺘﻲ أﺳﺲ‬،‫ﻛﺒﻴﺮ ﻓﻲ إﺛﺮاء اﻟﻤﺸﻬﺪ اﻟﺜﻘﺎﻓﻲ اﻟﻤﺼﺮي‬
‫ ﻛﻤﺎ ﻧﺎل ﺣﻨﻴﻦ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﻮاﺋﺰ‬.«‫ﻓﻴﻬﺎ »ﺳﻤﺒﻮزﻳﻮم أﺳﻮان اﻟﺪوﻟﻲ ﻟﻔﻦ اﻟﻨﺤﺖ‬
،‫اﻟﻤﺮﻣﻮﻗﺔ ﺗﻘﺪﻳﺮا ً |ﻋﻤﺎﻟﻪ اﻟﺘﻲ ﻋﺮﺿﺖ ﻓﻲ ﻣﺼﺮ وأﻣﺎﻛﻦ أﺧﺮى ﻣﻦ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‬
‫ وﻣﺘﺤﻒ »اﻟﻤﻴﺘﺮوﺑﻮﻟﻴﺎن ﻟﻠﻔﻨﻮن« ﻓﻲ ﻧﻴﻮﻳﻮرك‬،‫وأوروﺑﺎ‬
Adam Henein with his
late wife Afaf Al Dib at
the Centre Pompidou
Paris, 1990.
(Far right) Photos courtesy of Adam Henein.
‫ وﺗﺘﻤﻴﺰ أﻋﻤﺎل ﺣﻨﻴﻦ‬.‫ﻣﻜﻨﺘﻪ ﻣﻦ ا@ﻣﺴﺎك ﺑﺰﻣﺎم اﻟﻨﻤﻮذج اﻟﻔﻨﻲ اﻟﻤﻌﺎﺻﺮ‬
،‫ واﻟﻄﻴﻮر‬،‫ ﻣﺜﻞ ا|ﻣﻮﻣﺔ‬،‫ﺑﺄﺳﻠﻮﺑﻪ اﻟﻔﺬ ﻓﻲ ﺣﻴﺎﻛﺔ ا|ﻓﻜﺎر اﻟﺸﻤﻮﻟﻴﺔ‬
‫ ﺿﻤﻦ ﻧﺴﻴﺞ ﻳﺴﺘﺤﻀﺮ اﻟﺮﻣﻮز اﻟﻤﺼﺮﻳﺔ‬،‫ واﻟﺼﻼة وﻏﻴﺮﻫﺎ‬،‫واﻟﻤﺮاﻛﺐ‬
‫ واﻟﻜﺘﺎﺑﺎت‬،‫ وﻣﻠﻮك اﻟﻔﺮاﻋﻨﺔ‬،‫ واﻟﻤﺴ ّﻠﺎت‬،‫اﻟﻘﺪﻳﻤﺔ ﻣﺜﻞ ا|ﻫﺮاﻣﺎت‬
‫ وﻧﺠﺢ ﺣﻨﻴﻦ أﻳﻀ ًﺎ ﻓﻲ ﺗﻮﻇﻴﻒ إرﺛﻪ اﻟﻐﻨﻲ ﻣﻦ اﻟﻠﻮﺣﺎت‬.‫اﻟﻬﻴﺮوﻏﻠﻴﻔﻴﺔ‬
‫ وﻫﻲ ﺳﻠﺴﻠﺔ ﻣﻦ اﻟﺮﺳﻮﻣﺎت ﻋﻠﻰ ورق‬،‫اﻟﺘﺠﺮﻳﺪﻳﺔ واﻟﺘﺼﻮﻳﺮﻳﺔ‬
ً ‫ ﻟﻴﻘﺪم ﻋﺒﺮ ﻣﻨﺤﻮﺗﺎﺗﻪ ﺷﻜ‬،‫اﻟﺒﺮدي‬
.‫ﻼ ﺑﺼﺮﻳ ًﺎ ﻳﻔﻴﺾ ﺑﺴﺎﻃﺔ ﺷﻌﺮﻳﺔ‬
Born in 1929 into a family of metalworkers, Egyptian sculptor Adam Henein modelled a clay figure of Ramses II at the
age of eight. That marked the beginning of an artistic journey that catapulted Henein onto the international art scene.
Celebrated for his sculptural work in bronze, wood, clay and
granite, Henein transforms solid material into ethereal presences through the use of simple lines, capturing the essentials of modernist form. Distinguishing his body of work
is the way in which the artist interweaves universal
themes—motherhood, birds, boats and prayer
among them—with references to Egyptian icons
such as pyramids, obelisks, Pharaonic kings and
hieroglyphs. Henein also draws on his heritage in
abstract and representational paintings, a series of
which are completed on papyrus, and share with his
sculptures a poetic simplicity of visual form.
.‫اﻟﺼﻮرة ﻣﻘﺪﻣﺔ ﻣﻦ اﻟﻔﻨﺎن‬
‫ اﻟﻤﻮﻟﻮد ﻟﻌﺎﺋﻠﺔ ﻣﺘﺨﺼﺼﺔ ﻓﻲ ا|ﺷﻐﺎل‬،‫ﺑﺪأت ﻣﻮﻫﺒﺔ اﻟﻨﺤﺎت اﻟﻤﺼﺮي آدم ﺣﻨﻴﻦ‬
‫ ﺗﺘﺒﻠﻮر ﻣﻊ ﺑﻠﻮﻏﻪ اﻟﺜﺎﻣﻨﺔ ﻣﻦ ﻋﻤﺮه ﻋﻨﺪﻣﺎ ﺻﻨﻊ ﺗﻤﺜﺎ ًﻻ ﻃﻴﻨﻴ ًﺎ‬،١٩٢٩ ‫اﻟﻤﻌﺪﻧﻴﺔ ﻋﺎم‬
‫ ﻓﻜﺎﻧﺖ ﺗﻠﻚ اﻟﺨﻄﻮة ا|وﻟﻰ ﻓﻲ ﻣﺴﻴﺮﺗﻪ‬،‫ﻳﺠﺴﺪ اﻟﻤﻠﻚ اﻟﻔﺮﻋﻮﻧﻲ رﻣﺴﻴﺲ اﻟﺜﺎﻧﻲ‬
‫ واﺷﺘﻬﺮ ﺣﻨﻴﻦ ﺑﺄﻋﻤﺎﻟﻪ اﻟﻨﺤﺘﻴّﺔ‬.‫اﻟﻌﺎﻟﻤﻲ‬
‫اﻟﻔﻨﻲ‬
‫اﻟﻔﻨﻴﺔ اﻟﺘﻲ أوﺻﻠﺘﻪ إﻟﻰ اﻟﻤﺸﻬﺪ‬
ّ
ّ
‫ ﺣﻴﺚ‬،‫اﻟﻤﺒﺘﻜﺮة ﻣﻦ ﻣﻮاد ﻣﺘﻌﺪدة ﻣﺜﻞ اﻟﺒﺮوﻧﺰ واﻟﺨﺸﺐ واﻟﻄﻴﻦ واﻟﻐﺮاﻧﻴﺖ‬
ّ
‫ﺳﺨﺮ اﻟﻤﻮاد اﻟﺼﻠﺒﺔ ﻓﻲ اﻟﺘﻌﺒﻴﺮ ﻋﻦ ﺣﻀﻮر ﻣﺮﻫﻒ ﺑﺎﺳﺘﺨﺪام ﺧﻄﻮط ﺑﺴﻴﻄﺔ‬
Cairo, Egypt, 1929
Marie Nilus, bronze
146 x 40 x 22 cm, 1969
Photo courtesy of Adam Henein.
١٩٢٩ ‫ ﻣﺼﺮ‬،‫اﻟﻘﺎﻫﺮة‬
‫ ﺑﺮوﻧﺰ‬،(‫ﻣﺎري ﻧﻴﻠﻮس )ﻣﺮﻳﻢ اﻟﻨﻴﻞ‬
١٩٦٩ ،‫ ﺳﻢ‬٢٢ × ٤٠ × ١٤٦
Adam Henein’s Marie Nilus
on display at Amir Taz
Palace in Cairo, 2006.
“‫ﻟﻮﺣﺔ ”ﻣﺎري ﻧﻴﻠﻮس‬
‫)ﻣﺮﻳﻢ اﻟﻨﻴﻞ( ﻟﻠﻔﻨﺎن آدم ﺣﻨﻴﻦ‬
‫ﻓﻲ ﻗﺼﺮ اﻣﻴﺮ ﻃﺎز‬
.٢٠٠٦ ،‫ﺑﺎﻟﻘﺎﻫﺮة‬
RE: ORIENT 51
naim iSmail
‫ﻧﻌﻴــﻢ إﺳﻤــﺎﻋﻴــﻞ‬
١٩٧٩-١٩٣٠ ،‫ ﺳﻮرﻳﺎ‬،‫أﻧﻄﺎﻛﻴﺎ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﺧﺸﺐ‬،‫ﺑﻼ ﻋﻨﻮان‬
١٩٥٦ ،‫ ﺳﻢ‬٦٠ × ٥٠
‫ ﻓﻲ‬،‫ اﻟﻤﺴﺘﻤﺪة ﻣﻦ اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴّﺔ‬،‫ﺳﺎﻫﻤﺖ ﻟﻮﺣﺎت اﻟﻔﻨﺎن ﻧﻌﻴﻢ إﺳﻤﺎﻋﻴﻞ‬
‫رﻓﺪ ﺣﺮﻛﺔ ﺗﻬﺪف إﻟﻰ ﻏﺮس وﺗﻨﻤﻴﺔ اﻟﺤﺲ اﻟﻮﻃﻨﻲ ﻓﻲ ﺳﻮرﻳﺎ ﻣﻦ ﺧﻼل اﻟﺜﻘﺎﻓﺔ‬
،‫ اﻟﻤﻮﻟﻮد ﺑﻤﺪﻳﻨﺔ أﻧﻄﺎﻛﻴﺎ ﺷﻤﺎل ﻏﺮب ﺳﻮرﻳﺎ‬،‫ وﻗﺪ اﻧﺘﻘﻞ إﺳﻤﺎﻋﻴﻞ‬.‫اﻟﺒﺼﺮﻳﺔ‬
‫ وﺟﺎء اﺳﺘﻘﻼل ﺳﻮرﻳﺎ ﻋﻦ‬.١٩٣٩ ‫ﺟﻨﻮﺑ ًﺎ ﺑﻌﺪ ﺿﻢ ﻟﻮاء اﺳﻜﻨﺪرون إﻟﻰ ﺗﺮﻛﻴﺎ ﻓﻲ ﻋﺎم‬
‫ اﺗﺴﻤﺖ‬،‫ إﻳﺬاﻧ ًﺎ ﻟﺤﻘﺒﺔ ﻣﻦ ا@ﻧﺘﺎج اﻟﻔﻨﻲ اﻟﻐﺰﻳﺮ‬١٩٤٤ ‫اﻟﻤﺴﺘﻌﻤﺮ اﻟﻔﺮﻧﺴﻲ ﻓﻲ ﻋﺎم‬
.‫ﺑﻠﺠﻮء اﻟﻔﻨﺎﻧﻴﻦ اﻟﺴﻮرﻳﻴﻦ إﻟﻰ ﺗﺠﺮﻳﺐ ﺗﻘﻨﻴﺎت وأﺳﺎﻟﻴﺐ وﻣﻮﺿﻮﻋﺎت ﻣﺨﺘﻠﻔﺔ‬
ً ‫ واﺣﺪا‬،‫ ا|خ ا|ﻛﺒﺮ ﻟﻨﻌﻴﻢ إﺳﻤﺎﻋﻴﻞ وا|ﻛﺜﺮ ﺷﻬﺮة رﻏﻢ ﻣﻮﺗﻪ اﻟﻤﺒﻜﺮ‬،‫وﻛﺎن أدﻫﻢ‬
‫ﻣﻦ أواﺋﻞ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻤﻌﺎﺻﺮﻳﻦ اﻟﺬﻳﻦ ﻛﺴﺮوا ﻗﻴﻮد اﻟﻌﻤﻞ اﻟﻔﻨﻲ اﻟﺘﻘﻠﻴﺪي اﻟﺼﺮف‬
.‫ﻋﺒﺮ دﻣﺞ اﻟﺨﻂ اﻟﻌﺮﺑﻲ ﻣﻊ اﻟﺮﺳﻢ اﻟﺘﺠﺮﻳﺪي‬
‫ إذ ﺗﺼﻮر اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴّﺔ‬،‫وﺗﺸﻜﻞ أﻋﻤﺎل إﺳﻤﺎﻋﻴﻞ ﺟﺴﺮا ً ﺑﻴﻦ اﻟﻤﺎﺿﻲ واﻟﺤﺎﺿﺮ‬
‫ ﻓﻔﻲ ﻟﻮﺣﺔ‬.‫وﺗﻜﺮس اﻟﻠﻤﺴﺎت اﻟﻤﻌﺎﺻﺮة ﻣﻊ اﻻﺳﺘﺌﻨﺎس ﺑﺎﻟﺘﺼﺎﻣﻴﻢ اﻟﺘﻘﻠﻴﺪﻳﺔ‬
‫ ﻳﺼﻮر إﺳﻤﺎﻋﻴﻞ ﻣﺸﻬﺪا ً ﻗﺮوﻳ ًﺎ ﻳﻈﻬﺮ ﻓﻴﻪ رﺟﻞ‬،١٩٥٦ ‫ﻏﻴﺮ ﻣﻌﻨﻮﻧﺔ رﺳﻤﻬﺎ ﻋﺎم‬
‫ ﺑﻴﻨﻤﺎ ﺗﺪﺧﻞ‬،‫ﺑﺎﻟﺰي اﻟﻌﺮﺑﻲ اﻟﺘﻘﻠﻴﺪي وﻫﻮ ﻳﺠﻠﺲ ﻣﻜﺘﻮف ا|ﻳﺪي ﻋﻠﻰ ﻋﺘﺒﺔ اﻟﻤﻨﺰل‬
.‫اﻟﺒﺎﺣﺔ ا|ﻣﺎﻣﻴﺔ اﻣﺮأة ﻣﺤﺠﺒﺔ ﺑﺎﻟﻜﺎﻣﻞ وﻫﻲ ﺗﺤﻤﻞ ﻛﻴﺴ ًﺎ ﻣﻠﻴﺌ ًﺎ ﺑﺎﻟﺴﻠﻊ اﻟﻤﺠﻔﻔﺔ‬
‫ ﺣﻴﺚ ﺗﺘﻀﻤﻦ‬،‫وﻏﺎﻟﺒ ًﺎ ﻣﺎ ﺗﺘﺄﺛﺮ أﻋﻤﺎل إﺳﻤﺎﻋﻴﻞ اﻟﺘﺼﻮﻳﺮﻳﺔ ﺑﺎﻟﻄﺎﺑﻊ ا@ﺳﻼﻣﻲ‬
.‫أﺷﻜﺎ ًﻻ ﻫﻨﺪﺳﻴّﺔ وﻧﻤﺎذج ﺗﻤﺜﻴﻠﻴّﺔ ﻣﺤﺪدة‬
‫ اﺳﺘﻘﺮ إﺳﻤﺎﻋﻴﻞ ﻓﻲ‬،‫ﺑﻌﺪ إﺗﻤﺎم ﺗﺪرﻳﺒﻪ اﻟﻔﻨﻲ اﻟﺮﺳﻤﻲ ﻓﻲ اﺳﻄﻨﺒﻮل وروﻣﺎ‬
‫ ﻗﺒﻞ ﺗﺮﻗﻴﺘﻪ إﻟﻰ ﻣﻨﺼﺐ‬،‫دﻣﺸﻖ ﺣﻴﺚ ﻋﻤﻞ ﻣﺪﻳﺮا ً ﻓﻨﻴ ًﺎ @ﺣﺪى اﻟﻤﺠﻼت‬
.‫رﻓﻴﻊ ﻓﻲ وزارة اﻟﺜﻘﺎﻓﺔ ﺧﻼل ﺳﺒﻌﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬
Antioch, Syria, 1930-1979
Untitled, oil on wood
50 x 60 cm, 1956
Citing scenes from daily life, the paintings of Naim Ismail contributed to a movement in Syria to cultivate a sense of national
consciousness through visual culture. Born in the northwestern
city of Antioch, Ismail moved south during Syria’s annexation
by Turkey in 1939. Syria’s independence from French mandate
in 1944 ushered in a peak period of art production where artists
experimented with numerous techniques, styles and subjects.
Ismail’s older brother Adham, although better known despite
his early death, was one of the first modern artists to break free
from purely representational artwork by integrating calligraphic
signs and abstraction. Ismail’s practice connects past and present through depictions of everyday life, using modernist sensibilities and referencing traditional design. In his 1956 untitled
painting, Ismail captures a village scene with a man in traditional
Arab attire sitting idly on a doorstep, while a fully veiled woman
enters the foreground with a sack of dried goods. His genre
scenes often combine Islamic influences, including geometric
motifs and defined representational forms.
After receiving formal art training in Istanbul and Rome, Ismail
settled in Damascus to work as an artistic director for a magazine before acceding to a high post within the Ministry of Culture
in the 1970s.
RE: ORIENT 53
Saadi al Kaabi
‫ﺳــﻌﺪي اﻟﻜﻌــﺒﻲ‬
١٩٣٧ ،‫ اﻟﻌﺮاق‬،‫اﻟﻨﺠﻒ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ورق ﻣﻘﻮى‬،‫ﺑﺪون ﻋﻨﻮان‬
1962 ، ‫ ﺳﻢ‬٤٩ × ٦٠
‫ﻳﻌﺘﻤﺪ اﻟﻔﻨﺎن ﺳﻌﺪي اﻟﻜﻌﺒﻲ ﻧﻬﺠ ًﺎ ﺗﻌﺒﻴﺮﻳ ًﺎ ﻣﻨﻤﻘ ًﺎ ﻳﺒﺪو واﺿﺤ ًﺎ ﻓﻲ ﻟﻮﺣﺎﺗﻪ اﻟﺘﻲ‬
.‫ﺗﺴﺘﻤﺪ إﻟﻬﺎﻣﻬﺎ ﻣﻦ اﻟﻤﺨﺰون اﻟﻤﺘﻨﻮع ﻟﻠﺮﻣﻮز واﻟﻔﻠﻮﻛﻠﻮر اﻟﺸﻌﺒﻲ اﻟﻌﺮاﻗﻲ‬
‫وﺗﺘﻀﻤﻦ ﻣﺠﻤﻮﻋﺔ اﻟﻜﻌﺒﻲ ﺧﻼل اﻟﺴﺘﻴﻨﻴﺎت ﻟﻮﺣﺔ »ﺑﺪون ﻋﻨﻮان« ﻳﺘﻢ ﻋﺮﺿﻬﺎ‬
‫ ﻟﺮﺳﻢ‬،‫ وﻫﻲ ﺗﻤﺰج أﻟﻮان ا|زرق وا|ﺻﻔﺮ وا|ﺣﻤﺮ اﻟﻜﺜﻴﻔﺔ‬،‫ﺿﻤﻦ إﻃﺎر ﻫﺬا اﻟﻤﻌﺮض‬
‫ﺷﺨﺼﻴﺎت ﺗﺠﺮﻳﺪﻳﺔ ﺗﺘﺴﻢ ﺑﺄﺟﻔﺎن ﻏﺎﺋﺮة وﻧﻈﺮات ﻣﺘﻌﺒﺔ ﺗﻌﻜﺲ ﻓﻦ اﻟﻨﺤﺖ‬
‫ واﻟﻤﻮﺿﻮﻋﺎت‬،‫ وﻣﻦ ﺧﻼل اﻟﻤﺰج ﺑﻴﻦ اﻟﺘﺄﺛﻴﺮات اﻟﺠﻤﺎﻟﻴﺔ ﻟﻠﻔﻦ اﻟﺘﻜﻌﻴﺒﻲ‬.‫اﻟﺒﺎﺑﻠﻲ‬
‫ ﺗﺴﺒﺮ‬،‫اﻟﻤﺴﺘﻮﺣﺎة ﻣﻦ ﻓﻨﻮن اﻟﺤﻀﺎرات اﻟﺴﻮﻣﺮﻳﺔ واﺷﻮرﻳﺔ واﻟﻔﻦ ا@ﺳﻼﻣﻲ‬
‫اﻟﻜﺜﻴﺮ ﻣﻦ أﻋﻤﺎل اﻟﻜﻌﺒﻲ أﻏﻮار اﻟﺰﻣﻦ ﻟﺘﻮاﺻﻞ اﺳﺘﻜﺸﺎف اﻟﻔﺮوق اﻟﺠﻮﻫﺮﻳﺔ‬
.‫ وﺗﻨﺎﻗﻀﺎت اﻟﺤﺎﻟﺔ ا@ﻧﺴﺎﻧﻴﺔ‬،‫اﻟﺪﻗﻴﻘﺔ‬
‫ واﺣﺪا ً ﻣﻦ أﺑﺮز وﺟﻮه اﻟﺠﻴﻞ اﻟﺜﺎﻧﻲ ﻣﻦ‬،‫ اﻟﺬي وﻟﺪ ﻓﻲ ﻣﺪﻳﻨﺔ اﻟﻨﺠﻒ‬،‫وﻳﻌﺪ اﻟﻜﻌﺒﻲ‬
ّ
‫اﻟﻔﻨﺎﻧﻴﻦ اﻟﻌﺮاﻗﻴﻴﻦ اﻟﻤﻌﺎﺻﺮﻳﻦ؛ وﻗﺪ ﺗﺨﺮج ﻣﻦ »ﻣﻌﻬﺪ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ« ﻓﻲ‬
‫ وواﺻﻞ اﻟﻌﻤﻞ ﻋﻠﻰ ﺗﻄﻮﻳﺮ أﺳﻠﻮﺑﻪ اﻟﻔﻨﻲ ﺣﺘﻰ ﺳﺒﻌﻴﻨﻴﺎت اﻟﻘﺮن‬،١٩٦٠ ‫ﺑﻐﺪاد ﻋﺎم‬
.‫اﻟﻤﺎﺿﻲ ﺑﻌﺪ ﻣﺮور ﻋﻘﺪﻳﻦ ﻣﻦ اﻟﺘﺠﺎرب اﻟﻐﻨﻴﺔ ﻋﻠﻰ ﺻﻌﻴﺪ ﻣﺸﻬﺪ اﻟﻔﻦ اﻟﻤﻌﺎﺻﺮ‬
،‫وﻳﺴﺘﺨﺪم اﻟﻜﻌﺒﻲ ﻓﻲ أﻋﻤﺎﻟﻪ ﻃﺒﻘﺎت ﻛﺜﻴﻔﺔ ﻣﻦ ا|ﻟﻮان وﻻﺳﻴﻤﺎ اﻟﺘﺮاﺑﻴﺔ ﻣﻨﻬﺎ‬
‫@ﺑﺪاع ﺑﻨﻴﺔ ﻓﻨﻴﺔ رﻓﻴﻌﺔ اﻟﻤﺴﺘﻮى؛ وﺗﻌﺪ ﺗﺠﺮﺑﺘﻪ ﺟﺰءا ً ﻣﻦ ﻧﻬﺞ ﻓﻨﻲ أوﺳﻊ ﺳﺎد‬
‫ وﻳﺘﻤﺤﻮر ﺣﻮل اﺑﺘﻜﺎر ﻫﻮﻳﺔ وﻃﻨﻴﺔ‬،‫اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ ﺧﻼل ﻣﺮﺣﻠﺔ ﻣﺎ ﺑﻌﺪ اﻻﺳﺘﻘﻼل‬
.‫ﺟﺪﻳﺪة ﺗﺘﻄﻠﻊ إﻟﻰ اﻟﻤﺎﺿﻲ ﺑﺤﺜ ًﺎ ﻋﻦ ا|ﺻﺎﻟﺔ اﻟﺜﻘﺎﻓﻴﺔ‬
.١٩٧٦ ‫وﺷﺎرك اﻟﻜﻌﺒﻲ ﻓﻲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻌﺎرض اﻟﺪوﻟﻴﺔ ﺑﻤﺎ ﻓﻴﻬﺎ ﺑﻴﻨﺎﻟﻲ ﻓﻴﻨﻴﺴﻴﺎ‬
‫ أﺣﺮق اﻟﻜﻌﺒﻲ أرﺷﻴﻔﻪ اﻟﺨﺎص ﻣﻦ اﻟﻤﻘﺘﻄﻔﺎت اﻟﺼﺤﻔﻴﺔ‬،١٩٨٠ ‫وﻓﻲ ﻋﺎم‬
‫اﻟﺘﻲ ﺗﻐﻄﻲ ﻣﺴﻴﺮة أﻋﻤﺎﻟﻪ ﺑﻐﺮض ﻣﺤﻮ ﺳﺠﻞ ﻧﺠﺎﺣﺎﺗﻪ اﻟﺴﺎﺑﻘﺔ واﻟﺒﺪء‬
.‫ﺑﺮﺣﻠﺘﻪ ﻣﻦ ﺟﺪﻳﺪ‬
Najaf , Iraq, 1937
Untitled, oil on board
60 x 49 cm, 1962
Employing an expressive yet stylised approach, Saadi Al Kaabi’s
paintings draw from the rich and diverse reservoir of Iraqi art
and heritage. His art in the 1960s experimented with Cubism
and Expressionism, as the simplified planes and strong outlines
of this untitled portrait demonstrate. Marrying aesthetic influences from Cubism with those from Sumerian, Assyrian, Babylonian and Islamic art, Al Kaabi’s work explores the nuances
and contradictions of the human condition.
Born in Najaf, Al Kaabi is a significant member of Iraq’s second
generation of modernist artists. A graduate of Baghdad’s Institute of Fine Arts in 1960, the artist’s signature style emerged in
the 1970s after two decades of involvement in the avant-garde
modern art scene. Al Kaabi applies thick layers of paint in his
contemporary art, using ginger earth tones to compose highly
textured works. His practice forms part of a broader post-independence artistic approach in the Arab world concerned with
fashioning a new national identity that involved looking to the
past in search of cultural authenticity.
Al Kaabi has participated in numerous international exhibitions,
including the 1976 Venice Biennale. In the 1980s, he torched his
personal archive of press clippings covering his career as a way
of expunging the suggestion of his success to start anew.
RE: ORIENT 55
lo u ay K ay ya l i
‫ﻟـــﺆي ﻛﻴــــﺎﻟﻲ‬
1978 –1943، ‫ ﺳﻮرﻳﺎ‬،‫ﺣﻠﺐ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﺧﺸﺐ ﻣﻌﺎﻟﺞ‬،‫اﻟﺨﻴﺎﻃﺔ‬
1974 ،‫ ﺳﻢ‬5،5 × 121،5 × 121،5
Aleppo, Syria, 1934–1978
Woman Sewing, oil on engineered wood
121.5 x 121.5 x 5.5, 1974
‫ اﻟﻤﻮﻟﻮد‬- ‫ﺗﻨﻄﻮي اﻟﻤﺴﻴﺮة اﻟﻔﻨﻴّﺔ اﻟﻘﺼﻴﺮة ﻟﻠﻔﻨﺎن اﻟﺘﺸﻜﻴﻠﻲ اﻟﺴﻮري ﻟﺆي ﻛﻴﺎﻟﻲ‬
‫ ﻋﻠﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ ا|ﻋﻤﺎل اﻟﺘﻲ ﺗﺘﺪاﺧﻞ ﻓﻴﻬﺎ ﺻﻮر اﻟﺼﺮاﻋﺎت‬- ‫ﺑﻤﺪﻳﻨﺔ ﺣﻠﺐ‬
.‫اﻟﻴﻮﻣﻴﺔ وﻣﻮاﺿﻴﻊ اﻟﺤﺮﻣﺎن اﻻﺟﺘﻤﺎﻋﻲ واﻟﻤﺎدي ﻟﻌﺎﻣﺔ اﻟﻨﺎس‬
Depictions of banal daily struggles and the social and physical deprivation of the masses intertwine the artwork of Syrian
painter Louay Kayyali during his iconic, short-lived career.
‫ وأﻗﺎم ﺑﺎﻛﻮرة ﻣﻌﺎرﺿﻪ‬،‫وﻇﻬﺮت ﻣﻴﻮل ﻛﻴﺎﻟﻲ اﻟﻔﻨﻴﺔ ﻓﻲ ﺳﻦ اﻟﺤﺎدﻳﺔ ﻋﺸﺮة‬
‫اﻟﻔﺮدﻳّﺔ ﻓﻲ ﺳﻦ اﻟﺜﺎﻣﻨﺔ ﻋﺸﺮة؛ وﺗﺴﻠﻂ أﻋﻤﺎﻟﻪ اﻟﻀﻮء ﻋﻠﻰ أﺷﻜﺎل اﻟﻨﻀﺎل‬
‫ ﺣﻴﺚ ﺗﻔﺘﺢ‬،‫اﻟﻔﺮدي ﻓﻲ ﻇﻞ اﻟﻮﻗﺎﺋﻊ اﻟﺴﻴﺎﺳﻴّﺔ واﻻﺟﺘﻤﺎﻋﻴّﺔ ﻟﻠﻤﻨﻄﻘﺔ اﻟﻌﺮﺑﻴﺔ‬
‫ وﺳﺎﻫﻤﺖ‬.‫أﻋﻤﺎﻟﻪ ﻧﺎﻓﺬة ﻋﻠﻰ ﺣﻴﺎة ا|ﻏﻠﺒﻴﺔ اﻟﻤﺤﺮوﻣﺔ ﻓﻲ اﻟﻤﺠﺘﻤﻊ‬
‫ﺗﻘﻨﻴﺔ ﻛﻴّﺎﻟﻲ اﻟﺨﺎﺻﺔ ﻓﻲ اﻟﺮﺳﻢ ﻋﻠﻰ أﻟﻮاح اﻟﺨﺸﺐ اﻟﺮﻗﻴﻘﺔ ﻓﻲ إﺑﺮاز‬
‫ﺟﻮاﻧﺐ اﻟﻀﻌﻒ واﻟﻌﺰﻳﻤﺔ اﻟﺘﻲ ﺗﺘﻤﺘﻊ ﺑﻬﺎ ﺷﺨﺼﻴﺎﺗﻪ ذات اﻟﻤﻼﻣﺢ‬
‫ وﻳﺼﻮر ﻛﻴﺎﻟﻲ ﻓﻲ ﻟﻮﺣﺘﻪ‬.‫اﻟﻘﻮﻳﺔ واﻟﻨﻈﺮات اﻟﻬﺎدﺋﺔ واﻟﻜﺌﻴﺒﺔ‬
‫”اﻟﺨﻴﺎﻃﺔ“ ﻟﺤﻈﺔ ﻋﺎﺑﺮة ﻣﻦ اﻟﺤﻴﺎة اﻟﺮوﺗﻴﻨﻴﺔ اﻟﺼﺎرﻣﺔ ﻟﺨﻴّﺎﻃﺔ‬
.‫ﺗﻘﻮم ﺑﺤﻴﺎﻛﺔ اﻟﻤﻼﺑﺲ‬
The Aleppo-born artist began painting at the age of 11 and held
his first solo show at 18. Highlighting the individual struggles
evident on the fringe of larger socio-political realities in
the Arab region, Kayyali’s artwork provides a window
into the lives of the deprived majority. His signature technique of painting on masonite chip board
contributed to the worn-yet-resolute nature of the
solidly defined figures appearing on his canvases,
often with quiet downcast gazes. Woman Sewing
captures a fleeting moment of a seamstress’ ascetic
routine of stitching clothing.
‫وﻛﺎن ﻛﻴﺎﻟﻲ ﻗﺪ ﺣﺎز ﻋﻠﻰ ﻣﻨﺤﺔ ﻟﺪراﺳﺔ اﻟﻔﻦ ﻓﻲ ”أﻛﺎدﻳﻤﻴﺔ روﻣﺎ ﻟﻠﻔﻨﻮن‬
‫؛ وﺷﺎرك ﻓﻲ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻌﺎرض اﻟﻔﻨﻴﺔ ﺧﻼل ﻓﺘﺮة‬١٩٥٦ ‫اﻟﺠﻤﻴﻠﺔ“ ﻋﺎم‬
ً ‫ ﻓﻀ‬،‫إﻗﺎﻣﺘﻪ ﻓﻲ إﻳﻄﺎﻟﻴﺎ‬
‫ إﻟﻰ ﺟﺎﻧﺐ‬١٩٦٠ ‫ﻼ ﻋﻦ ﺗﻤﺜﻴﻞ ﺑﻼده ﻓﻲ ”ﺑﻴﻨﺎﻟﻲ ﻓﻴﻨﻴﺴﻴﺎ“ ﻋﺎم‬
‫ وﺑﻌﺪ ﻫﺰﻳﻤﺔ اﻟﻌﺮب أﻣﺎم إﺳﺮاﺋﻴﻞ ﻓﻲ ﺣﺮب ﻋﺎم‬.‫اﻟﻔﻨﺎن اﻟﺘﺸﻜﻴﻠﻲ ﻓﺎﺗﺢ اﻟﻤﺪرّس‬
‫دﻣﺮ ﻋﻠﻰ إﺛﺮﻫﺎ ﺳﻠﺴﻠﺔ ﻣﻦ رﺳﻮﻣﺎت اﻟﻔﺤﻢ‬
ّ ‫ ﻏﺮق اﻟﻜﻴﺎﻟﻲ ﻓﻲ ﻛﺂﺑﺔ ﻋﻤﻴﻘﺔ‬،١٩٦٧
‫ ﻛﻤﺎ ﻋﺎﻧﻰ ﻓﻲ اﻟﺜﻼﺛﻴﻨﻴﺎت ﻣﻦ ﻋﻤﺮه‬،‫ﺻﻮرت واﻗﻊ اﻟﺼﺮاع اﻟﻌﺮﺑﻲ ا@ﺳﺮاﺋﻴﻠﻲ‬
ّ ‫اﻟﺘﻲ‬
‫ وﻗﻀﻰ ﻟﺆي‬.‫ﻣﻦ اﻟﻀﻐﻮط اﻟﻨﻔﺴﻴّﺔ وا@دﻣﺎن ﻟﻴﻌﺘﺰل اﻟﺮﺳﻢ ﻓﻲ أواﺋﻞ اﻟﺴﺒﻌﻴﻨﺎت‬
‫ ﻣﻦ ﻋﻤﺮه إﺛﺮ ﺣﺮﻳﻖ ﺷﺐ ﺑﻤﺮﺳﻤﻪ ﻓﻲ‬٤٤ ‫ﻛﻴﺎﻟﻲ ﻧﺤﺒﻪ ﺑﻄﺮﻳﻘﺔ ﻣﺄﺳﺎوﻳﺔ ﻓﻲ اﻟـ‬
.ً ‫ﺣﺎدﺛﺔ ﺗﻮﻗﻊ اﻟﺒﻌﺾ أن ﺗﻜﻮن اﻧﺘﺤﺎرا‬
Kayyali, who secured a scholarship in 1956 to study at Rome’s
Academy of Fine Arts, participated in a range of fairs during his
time in Italy, including representing Syria in along with Fateh Al
Moudarres at the 1960 Venice Biennale. After the Arab defeat
in the Six-Day War with Israel in 1967, Kayyali sank into a deep
depression and destroyed a series of politically charged charcoal drawings that epitomised the Arab struggle. Suffering from
psychological distress and addiction through his 30s, Kayyali
stopped painting until the early 1970s. The artist died tragically
in a fire at the age of 44 in what some of have deemed a suicide.
RE: ORIENT 57
mohammed Khadda
‫ﻣﺤﻤـــﺪ ﺧــﺪا‬
1991-1930 ‫ اﻟﺠﺰاﺋﺮ‬،‫ﻣﺪﻳﻨﺔ ﻣﺴﺘﻐﺎﻧﻢ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﻗﻤﺎش‬،‫ﺗﺠﺮﻳﺪ ﺑﺎﺧﻀﺮ‬
١٩٦٩ ،‫ ﺳﻢ‬٤٥ × ٥٤
Mostaganem, Algeria, 1930-1991
Abstraction vert, oil on canvas
54 x 45 cm, 1969
‫ﻳﻌﺘﺒﺮ ﻣﺤﻤﺪ ﺧﺪا واﺣﺪا ً ﻣﻦ أواﺋﻞ ﻣﺆﺳﺴﻲ ﻣﺪرﺳﺔ اﻟﻔﻦ اﻟﺤﺪﻳﺚ واﻟﻤﻌﺎﺻﺮ‬
‫ﻓﻲ اﻟﺠﺰاﺋﺮ؛ وﻗﺪ ﻋﻤﺪ ﻓﻲ أﺳﻠﻮﺑﻪ اﻟﻔﻨﻲ إﻟﻰ ﻣﺰج ﺗﻘﻨﻴﺎت اﻟﺮﺳﻢ اﻟﻐﺮﺑﻲ ﻣﻊ‬
ً ‫ﻼ ﻛﺎﻣ‬
ً ‫اﻧﺴﻴﺎﺑﻴﺔ اﻟﺨﻂ اﻟﻌﺮﺑﻲ ﻟﻴﻤﺜﻞ ﺑﺬﻟﻚ ﺟﻴ‬
‫ﻼ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﺠﺰاﺋﺮﻳﻴﻦ اﻟﺬﻳﻦ‬
‫ﻋﻤﻠﻮا ﻣﻌ ًﺎ @ﻳﺠﺎد ﺗﻮﻟﻴﻔﺔ راﺋﻌﺔ ﺑﻴﻦ إرث اﻟﺨﻂ اﻟﻌﺮﺑﻲ واﻟﻠﻐﺔ اﻟﺮﺳﻤﻴﺔ ﻟﻠﻤﺪرﺳﺔ‬
‫ وﻗﺪ أﺻﺒﺤﺖ اﻟﻤﻼﻣﺢ‬.‫اﻟﺘﺠﺮﻳﺪﻳﺔ اﻟﻐﺮﺑﻴﺔ ﺧﻼل ﺧﻤﺴﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬
‫اﻟﻌﺎﻣﺔ ﻟﻠﻤﻤﺎرﺳﺎت اﻟﻔﻨﻴﺔ اﻟﺠﺰاﺋﺮﻳﺔ أﻛﺜﺮ وﺿﻮﺣ ًﺎ وﺗﺄﺛﻴﺮا ً ﺑﻌﺪ ﺣﺼﻮل اﻟﺠﺰاﺋﺮ‬
‫؛ ﺣﻴﺚ أﺳﻬﻢ ﻫﺬا اﻟﺘﺤﻮل‬1962 ‫ﻋﻠﻰ اﺳﺘﻘﻼﻟﻬﺎ ﻣﻦ اﻟﻤﺴﺘﻌﻤﺮ اﻟﻔﺮﻧﺴﻲ ﻋﺎم‬
“‫ ﻣﺜﻞ ﺣﺮﻛﺔ ”اﻟﻮﺷﻢ‬1967 ‫اﻟﺴﻴﺎﺳﻲ ﻓﻲ ﻇﻬﻮر ﻋﺪد ﻣﻦ اﻟﺤﺮﻛﺎت اﻟﻔﻨﻴﺔ ﻋﺎم‬
‫ وﻏﻠﺒﺖ ﻋﻠﻰ ﻟﻮﺣﺎت ﺧﺪا‬.‫و“ﻣﺪرﺳﺔ ا@ﺷﺎرات“ اﻟﺘﻲ ﻟﻌﺐ ﻓﻴﻬﺎ ﺧﺪا دورا ً ﻣﻬﻤ ًﺎ‬
‫ا|ﻟﻮان اﻟﺘﺮاﺑﻴﺔ واﻟﺘﺮاﻛﻴﺐ اﻟﻤﺤﺴﻮﺳﺔ اﻟﺘﻲ ﺗﻌﻠﻮ ﻓﻴﻬﺎ ﻛﺘﺎﺑﺎت وزﺧﺎرف اﻟﺨﻂ‬
.‫اﻟﻌﺮﺑﻲ ﻋﻠﻰ اﻟﻤﺴﺎﺣﺎت اﻟﻤﺠﺮدة ﻟﻠﻮﺣﺎت‬
Mohammed Khadda is considered one of the founding fathers
of modern and contemporary art in Algeria. Synthesising western painting techniques with the fluidity of Arabic writing,
Khadda represents a generation of Algerian artists who wove
together calligraphic heritage and the formal language of Western abstraction through the 1950s. Forging a distinct Algerian
artistic practice became more critical in the aftermath of the
country’s independence from France in 1962. The political transition influenced the founding in 1967 of art movements known
as ‘Aouchem’, Arabic for tattoo, and School of the Sign, of which
Khadda was an active participant.
،‫ ﻓﻲ ﻣﺪﻳﻨﺔ ﻣﺴﺘﻐﺎﻧﻢ اﻟﺠﺰاﺋﺮﻳﺔ‬- ‫ اﻟﺬي ﺗﻌﻠﻢ ﻓﻦ اﻟﺮﺳﻢ ﺑﻨﻔﺴﻪ‬- ‫وﻟﺪ ﻣﺤﻤﺪ ﺧﺪا‬
ً
‫ﺛﺎﻧﻴﺔ‬
‫ ﺳﻨﻮات ﻗﺒﻞ ﻋﻮدﺗﻪ‬10 ‫ ﻟﻴﻤﻜﺚ ﻓﻴﻬﺎ ﻗﺮاﺑﺔ‬1953 ‫وﺳﺎﻓﺮ إﻟﻰ ﺑﺎرﻳﺲ ﻋﺎم‬
Often working with a palette of earth tones, Khadda creates
tactile compositions that layer Arabic writing and calligraphy
over atmospheric abstract canvases. A self-taught painter,
Khadda was born in Mostaganem. In 1953, he travelled to Paris,
where he spent a decade before returning to Algeria. Khadda
was a founding member of the National Union of the Visual
Arts, established in 1964, and participated in producing a number of collective murals during the 1970s. In addition to exhibiting regularly in Algeria and abroad, Khadda illustrated novels
and books of poetry for several well-known Algerian writers,
including Rachid Boudjedra.
‫ وﻳﻌﺪ ﺧﺪا أﺣﺪ ا|ﻋﻀﺎء اﻟﻤﺆﺳﺴﻴﻦ ﻟــــ ”اﻻﺗﺤﺎد اﻟﻮﻃﻨﻲ ﻟﻠﻔﻨﻮن‬.‫إﻟﻰ وﻃﻨﻪ ا|م‬
‫ وﺳﺎﻫﻢ ﻓﻲ ﺗﺼﻤﻴﻢ ﻋﺪد ﻣﻦ اﻟﻠﻮﺣﺎت اﻟﺠﺪارﻳﺔ‬، 1964 ‫اﻟﺒﺼﺮﻳﺔ“ اﻟﺬي ﺗﺄﺳﺲ ﻋﺎم‬
‫ وأﻗﺎم اﻟﻔﻨﺎن اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻌﺎرض‬.‫اﻟﺠﻤﺎﻋﻴﺔ ﺧﻼل ﺳﺒﻌﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬
ً ‫ ﻓﻀ‬،‫اﻟﻤﻨﺘﻈﻤﺔ داﺧﻞ اﻟﺠﺰاﺋﺮ وﺧﺎرﺟﻬﺎ‬
‫ﻼ ﻋﻦ رﺳﻢ ﻟﻮﺣﺎت ﻋﺪد ﻣﻦ اﻟﺮواﻳﺎت‬
.‫واﻟﻜﺘﺐ اﻟﺸﻌﺮﻳﺔ ﻟﻜﺒﺎر اﻟﻜﺘﺎب اﻟﺠﺰاﺋﺮﻳﻴﻦ أﻣﺜﺎل رﺷﻴﺪ ﺑﻮﺟﺪرة‬
RE: ORIENT 59
‫‪mohammed Khadda‬‬
‫ﻣﺤﻤــﺪ ﺧـــﺪا‬
‫‪Abstraction vert sur fond Orange, oil on canvas‬‬
‫‪73 x 60 cm, 1969‬‬
‫ﺗﺠﺮﻳﺪ اﻟﻠﻮﻧﻴﻦ اﺧﻀﺮ واﻟﺒﺮﺗﻘﺎﻟﻲ‪ ،‬أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﻗﻤﺎش‬
‫‪ 60 × 73‬ﺳﻢ‪١٩٦٩ ،‬‬
i S m a i l a l K h ayat
‫إﺳﻤـــﺎﻋﻴــﻞ اﻟﺨﻴـــﺎط‬
١٩٤٤، ‫ اﻟﻌﺮاق‬،‫ﺧﺎﻧﻘﻴﻦ‬
J‫ﻣــﻦ راﻗــﺐ اﻟﻨﺎس ﻣــﺎت ﻫﻤ‬
‫ وﻛﻮﻻج ﻋﻠﻰ ورق‬،‫ رﻗﺎﺋﻖ أﻟﻤﻨﻴﻮم‬،‫ أﻟﻮان ﺟﻮاش‬،‫ﺣﺒﺮ‬
١٩٦٥ ،‫ ﺳﻢ‬٢٨٫٢ × ٢١
‫ﺗﻤﺰج أﻋﻤﺎل اﻟﻔﻨﺎن اﻟﺘﺸﻜﻴﻠﻲ اﻟﻌﺮاﻗﻲ إﺳﻤﺎﻋﻴﻞ اﻟﺨﻴﺎط ﺑﻴﻦ اﻟﺘﺮاث اﻟﺸﻌﺒﻲ‬
‫ وﺗﺤﻤﻞ ﻓﻲ ﺑﻄﺎﻧﺘﻬﺎ أﻓﻜﺎر اﻟﻜﻔﺎح اﻟﺠﻤﺎﻋﻲ واﻟﻌﺰﻟﺔ‬،‫اﻟﻜﺮدي واﻟﺘﻌﺒﻴﺮات اﻟﺮﻣﺰﻳﺔ‬
‫ أﺣﺪ‬،‫ اﻟﻤﻮﻟﻮد ﻓﻲ ﻣﺪﻳﻨﺔ ﺧﺎﻧﻘﻴﻦ ﺷﻤﺎﻟﻲ اﻟﻌﺮاق‬،‫ وﻻ ﻳﺰال اﻟﺨﻴﺎط‬.‫اﻟﺴﻴﺎﺳﻴﺔ‬
‫ وﻓﻲ ﻟﻮﺣﺘﻪ ”ﻣﻦ راﻗﺐ اﻟﻨﺎس‬.‫اﻟﻤﻠﻬﻤﺔ ﺑﻴﻦ اﻟﻔﻨﺎﻧﻴﻦ واﻟﻤﻔﻜﺮﻳﻦ ا|ﻛﺮاد‬
‫اﻟﺮﻣﻮز‬
ِ
،‫ ﺑﺄﺳﻠﻮب ﺑﺪاﺋﻲ وﺑﺎﺳﺘﺨﺪام ﺧﻠﻴﻂ ﻣﻦ اﻟﻤﻮاد‬١٩٦٥ ‫ﻫﻤ ًﺎ“ اﻟﺘﻲ أﻧﺠﺰﻫﺎ ﻋﺎم‬
ّ ‫ﻣﺎت‬
“‫ﻳﻠﻘﻲ اﻟﺨﻴﺎط اﻟﻀﻮء ﻋﻠﻰ اﻟﺨﺮاﻓﺎت واﻟﻤﻌﺘﻘﺪات اﻟﻤﺮﺗﺒﻄﺔ ﺑـ ”ﻋﻴﻦ اﻟﺤﺴﻮد‬
.‫ﻣﺴﺘﺸﻬﺪا ً ﺑﺘﻌﺒﻴﺮات ورﻣﻮز ﺷﺎﺋﻌﺔ ﻓﻲ ﻣﻨﻄﻘﺔ اﻟﺸﺮق ا|وﺳﻂ وﺷﻤﺎل إﻓﺮﻳﻘﻴﺎ‬
‫ ﺣﻴﺚ ﻳﺠﺎﺑﻪ اﻟﻔﻨﺎن اﻟﻤﺸﺎﻫﺪ‬،‫وﻳﺼﻮر اﻟﺨﻴﺎط ﻓﻲ ﻟﻮﺣﺘﻪ ”ﻫﻤﺴﺔ“ ﻳﺪا ً ﻳﻤﻨﻰ وﻋﻴﻨ ًﺎ‬
‫ وﺗﺘﻜﺮر‬.‫ ﻣﺘﺤﺪﻳ ًﺎ ﺣﻜﻤﺘﻪ وﻧﻈﺮﺗﻪ ا|ﺧﻼﻗﻴﺔ‬،‫ﺑﺎﻟﻌﻨﻮان اﻟﻌﺮﺑﻲ ﻟﻬﺬا اﻟﻌﻤﻞ اﻟﻔﻨﻲ‬
‫ وﻣﻦ‬.‫ ﻛﺘﻌﺒﻴﺮ ﻣﺠﺎزي ﻟﻠﺤﺮﻳﺔ وﻫﺸﺎﺷﺔ اﻟﺤﻴﺎة‬،‫اﻟﻄﻴﻮر ﻓﻲ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ ﻟﻠﺨﻴﺎط‬
‫ ﻳﺘﺤﺮى اﻟﺨﻴﺎط ﻣﻨﺎﺣﻲ اﻟﻌﺰﻟﺔ‬،‫ﺧﻼل اﺣﺘﻜﺎﻣﻪ إﻟﻰ اﻟﺘﺮاث اﻟﺸﻌﺒﻲ اﻟﻜﺮدي واﻟﻌﺮاﻗﻲ‬
‫ وﻓﻲ‬.‫اﻻﺟﺘﻤﺎﻋﻴﺔ واﻟﺴﻴﺎﺳﻴﺔ اﻟﻤﺘﻮاﺻﻠﺔ اﻟﺘﻲ ﻋﺎﺷﻬﺎ أﻛﺮاد اﻟﻌﺮاق ﻋﺒﺮ ﺗﺎرﻳﺨﻬﻢ‬
‫ ﻳﺴﺘﺨﺪم اﻟﺨﻴﺎط ﻃﻴﻮرا ً ﺷﺒﺤﻴﺔ ﺗﺨﺮج ﻣﻦ أﺟﺴﺎد‬،‫ﺳﻠﺴﻠﺔ ﻟﻮﺣﺎت ﺗﺬﻛﺎرﻳﺔ‬
‫اﻟﻤﻮﺗﻰ وﺗﺤﻠﻖ ﻋﺎﻟﻴ ًﺎ ﻓﻲ ﺗﺼﻮﻳﺮ رﻣﺰي ﻟﻀﺤﺎﻳﺎ اﻟﻤﺠﺎزر اﻟﻤﺮوﻋﺔ اﻟﺘﻲ ارﺗﻜﺒﻬﺎ‬
‫اﻟﺮﺋﻴﺲ اﻟﻌﺮاﻗﻲ ﺳﻲء اﻟﺼﻴﺖ ﺻﺪام ﺣﺴﻴﻦ ﻓﻲ ﺣﻤﻠﺔ ”ا|ﻧﻔﺎل“ اﻟﻤﺄﺳﺎوﻳﺔ اﻟﺘﻲ‬
‫ﺷﻨﻬﺎ ﻋﻠﻰ اﻟﻤﺪن اﻟﻜﺮدﻳﺔ ﻓﻲ اﻟﻌﺮاق ﺑﺎﺳﺘﺨﺪام ا|ﺳﻠﺤﺔ اﻟﻜﻴﻤﻴﺎﺋﻴﺔ وأﺳﻔﺮت‬
.‫ ﻗﺮﻳﺔ ﻓﻲ أواﺧﺮ ﺛﻤﺎﻧﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬٢٠٠٠ ‫ﻋﻦ ﺗﺪﻣﻴﺮ ﻧﺤﻮ‬
‫ ﻗﺒﻞ‬١٩٦٥ ‫اﻧﻀﻢ اﻟﺨﻴﺎط إﻟﻰ ”اﻟﺠﻤﻌﻴﺔ اﻟﻌﺮاﻗﻴﺔ ﻟﻠﻔﻨﻮن اﻟﺘﺸﻜﻴﻠﻴﺔ ﻓﻲ ﻋﺎم‬
‫ ﻛﻤﺎ أﺻﺒﺢ ﻣﺪﻳﺮا ً ﻓﻨﻴ ًﺎ ﻓﻲ‬،١٩٦٦ ‫ﺗﺨﺮﺟﻪ ﻣﻦ ﻛﻠﻴﺔ اﻟﻤﻌﻠﻤﻴﻦ ﻓﻲ ﺑﻌﻘﻮﺑﺔ ﻋﺎم‬
.١٩٩٢ ‫وزارة اﻟﺜﻘﺎﻓﺔ ﺑﺈﻗﻠﻴﻢ ﻛﺮدﺳﺘﺎن ﻓﻲ ﻋﺎم‬
Khanaqin, Iraq, 1944
Those Who Watch Other People Will Die of Envy
Ink, gouache, foil and collage on paper
21 x 28.2 cm, 1965
Combining Kurdish folklore and symbolism, the artwork of Ismail
Al Khayat encodes ideas of collective struggle and political isolation. Born in Khanaqin, northern Iraq, Al Khayat is an inspirational figure among Kurdish intellectuals and artists. Rendered in
a naïve style, Al Khayat’s mixed-media collage Those Who Watch
Other People Will Die of Envy (1965) observes superstitions surrounding the evil eye citing common expressions and symbols
from the Middle East and North Africa.
Al Khayat illustrates a hamsa, an emblem containing a right hand
with an eye, and confronts the viewer with the artwork’s Arabic
title, questioning their moral judgement and gaze. Representations of birds as metaphors for freedom and the fragility of life
are recurrent themes in Al Khayat’s artwork. Referencing Kurdish
and Iraqi folklore, he investigates the progressive socio-political
isolation of Iraq’s Kurdish population. In a series commemorating
former President Saddam Hussein’s notorious Al Anfal campaign,
which used chemical weapons on Kurdish cities and destroyed
some 2,000 villages in the late 1980s, Al Khayat depicts
abstracted phantom-like birds flying away from dead bodies.
The artist joined the Society of Iraqi Plastic Arts in 1965 before
graduating from the Teachers College at Baquba in 1966. In
1992, he became art director at the Ministry of Culture in the
Kurdistan Region.
RE: ORIENT 63
Fat e h a l mo u da r r e S
‫ﻓﺎﺗﺢ اﻟﻤﺪرس‬
١٩٩٩-١٩٢٢ ،‫ ﺳﻮرﻳﺎ‬،‫ﺣﻠﺐ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻣﻊ أوراق اﻟﺬﻫﺐ ﻋﻠﻰ اﻟﻘﻤﺎش‬،‫أﻳﻘﻮﻧﺎت اﻟﻤﺪرس‬
١٩٦٢ ،‫ ﺳﻢ‬٦٨ × ١٢٩
‫ﺗﻔﻴﺾ أﻋﻤﺎل اﻟﻔﻨﺎن اﻟﺴﻮري اﻟﻤﻌﺎﺻﺮ ﻓﺎﺗﺢ اﻟﻤﺪرس ﺑﺎﻟﺮﻣﻮز اﻟﺪﻳﻨﻴﺔ اﻟﻤﺮﺗﺒﻄﺔ‬
‫ أﺣﺪ أﺑﺮز‬،‫ اﻟﻤﻮﻟﻮد ﻓﻲ ﻣﺪﻳﻨﺔ ﺣﻠﺐ‬،‫وﻳﻌﺪ اﻟﻤﺪرس‬
.‫ﺑﺸﻌﺎﺋﺮ ﻋﺎﻣﺔ اﻟﻨﺎس ﻓﻲ ﺳﻮرﻳﺎ‬
ّ
‫رواد اﻟﺤﺮﻛﺎت اﻟﻔﻨﻴﺔ اﻟﺘﻌﺒﻴﺮﻳﺔ واﻟﻤﻌﺎﺻﺮة ﻓﻲ ﺳﻮرﻳﺎ؛ وﻫﻮ ﻳﺴﺘﻤﺪ أﺷﻜﺎﻟﻪ اﻟﻔﻨﻴﺔ‬
‫ﻣﻦ اﻟﻌﺼﻮر اﺷﻮرﻳﺔ اﻟﻘﺪﻳﻤﺔ واﻟﺮﻣﻮز ا@ﺳﻼﻣﻴﺔ واﻟﻤﺴﻴﺤﻴﺔ ﻣﻊ اﻋﺘﻤﺎد أﺳﻠﻮب‬
‫ واﻟﺤﺮﻣﺎن‬،‫ﺗﻌﺒﻴﺮي واﺿﺢ ﻳﻼﻣﺲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻮاﺿﻴﻊ اﻟﻤﻬﻤﺔ ﻣﺜﻞ ﺻﻠﺔ اﻟﺮﺣﻢ‬
‫ ودرس اﻟﻤﺪرس اﻟﻔﻦ ﻓﻲ ”أﻛﺎدﻳﻤﻴﺔ‬.‫ واﻟﻤﺠﺘﻤﻊ اﻟﺮﻳﻔﻲ‬،‫ واﻟﺤﺪاﺛﺔ‬،‫اﻻﺟﺘﻤﺎﻋﻲ‬
،١٩٦٠-١٩٥٤ ‫اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ“ ﺑﺮوﻣﺎ ﺧﻼل اﻟﻔﺘﺮة اﻟﻤﻤﺘﺪة ﺑﻴﻦ‬
‫واﻟﺘﺤﻖ ﻓﻲ ﺑﺪاﻳﺔ اﻟﺴﺒﻌﻴﻨﺎت ﺑـــــ“ﻣﺪرﺳﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ“ ﻓﻲ ﺑﺎرﻳﺲ ﻟﻴﺼﺒﺢ‬
‫ وﺗﻨﻌﻜﺲ أﺻﺪاء اﻟﻄﻔﻮﻟﺔ‬.‫ﺑﻌﺪﻫﺎ واﺣﺪا ً ﻣﻦ أﻫﻢ اﻟﻤﺪرﺳﻴﻦ ﻓﻲ ﺟﺎﻣﻌﺔ دﻣﺸﻖ‬
‫اﻟﺘﻲ ﻋﺎﺷﻬﺎ اﻟﻤﺪرس ﻓﻲ رﻳﻒ ﺣﻠﺐ ﺑﺸﻜﻞ واﺿﺢ ﻋﻠﻰ اﺧﺘﻴﺎره ﻟﺘﻮﻟﻴﻔﺔ ا|ﻟﻮان‬
.‫واﻟﺒﻨﻰ ﻓﻲ ﻟﻮﺣﺎﺗﻪ‬
‫ اﻧﺘﻘﻞ‬،‫وﻓﻲ أﻋﻘﺎب ا|زﻣﺔ اﻟﺰراﻋﻴﺔ اﻟﺘﻲ ﺷﻬﺪﺗﻬﺎ اﻟﺒﻼد ﻓﻲ ﺳﺘﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬
‫اﻟﻤﺪرس إﻟﻰ دﻣﺸﻖ ﻟﻴﻮاﺟﻪ ﻧﻤﻮ ﻃﺒﻘﺔ اﻟﻌﻤﺎل وﻧﻤﻂ اﻟﺤﻴﺎة اﻟﻤﺰدﺣﻢ ﻟﻠﻌﺎﺻﻤﺔ‬
‫ ا|ﻣﺮ اﻟﺬي اﻧﻌﻜﺲ ﺑﻮﺿﻮح ﻋﻠﻰ أﻋﻤﺎﻟﻪ اﻟﻔﻨﻴﺔ اﻟﺘﻲ ﺗﺤﺎﻛﻲ ا|وﺿﺎع‬،‫اﻟﺴﻮرﻳﺔ آﻧﺬاك‬
‫اﻟﻤﻌﻴﺸﻴﺔ اﻟﺼﻌﺒﺔ ﻣﻦ ﺧﻼل ﺷﺨﺼﻴﺎﺗﻪ اﻟﺘﻲ ﻟﻄﺎﻟﻤﺎ أﺧﺬت ﺷﻜﻞ ﺷﺨﻮص‬
“‫ وﻗﺪ اﻋﺘﻤﺪ اﻟﻤﺪرس ﻓﻲ ﻋﻤﻠﻪ ”أﻳﻘﻮﻧﺎت اﻟﻤﺪرس‬.‫ﻣﺮﺳﻮﻣﺔ ﺿﻤﻦ ﺣﻴﺰ ﺿﻴﻖ‬
‫( ﻋﻠﻰ ﺗﺠﺴﻴﺪ اﻟﺮﻣﻮز وا|ﺳﺎﻟﻴﺐ اﻟﺴﺮﻳﺎﻟﻴﺔ اﻟﺘﻲ ﺷﻜﻠﺖ اﻟﺴﻤﺔ ا|ﺑﺮز‬١٩٦٢)
.‫|ﻋﻤﺎﻟﻪ ﻓﻲ ﺗﻠﻚ اﻟﻔﺘﺮة‬
Aleppo, Syria, 1922-1999
Icons of Moudarres, oil and gold leaf on canvas
129 x 68 cm, 1962
Religious symbolism laced in sensitive renderings of ordinary
people in Syria resounds in the artwork of prolific modernist
artist Fateh Al Moudarres. Aleppo-born Al Moudarres is considered an important leader in Syria’s modern and surrealist art
movements, culling forms from Assyrian antiquity, as well as
Christian and Muslim symbolism. He employs a recognisable
expressionist style that touches on themes of kinship, social
deprivation, modernisation and rural society.
The artist studied at the Accademia di Belle Arti in Rome from
1954-1960 and at Paris-based Ecole des Beaux Arts in the early
1970s, later becoming an influential teacher at the University
of Damascus. The countryside of Aleppo where Al Moudarres
spent his childhood echoes in the colours and textures of his
landscape paintings.
Following the 1960s agricultural crisis, Al Moudarras moved
to Damascus. Confronted with a growing labour class and the
Syrian capital’s overcrowded living spaces, Al Moudarras’ work
referenced stark living conditions, often featuring clustered
statuesque figures with limited mobility. In Icons of Moudarres
(1962), the artist drew on symbols and surrealist techniques, a
hallmark of his work in this period.
RE: ORIENT 65
a h m e d mo u Sta Fa
‫أﺣــﻤﺪ ﻣــﺼﻄﻔــﻰ‬
١٩٤٣ ‫ ﻣﺼﺮ‬،‫اﺳﻜﻨﺪرﻳﺔ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﻗﻤﺎش‬،‫ﺑﻮرﺗﺮﻳﻪ ﺷﺎﻋﺮ‬
١٩٦٩ ،‫ ﺳﻢ‬٧٩ × ١١٧
‫ﻳﺴﺘﻨﺪ اﻟﻔﻨﺎن اﻟﺘﺸﻜﻴﻠﻲ اﻟﻤﺼﺮي أﺣﻤﺪ ﻣﺼﻄﻔﻰ ﻋﻠﻰ إﻳﻤﺎﻧﻪ اﻟﻌﻤﻴﻖ وﻣﻌﺮﻓﺘﻪ‬
‫اﻟﻌﻠﻤﻴﺔ ﺑﺄﺻﻮل اﻟﺨﻂ اﻟﻌﺮﺑﻲ @ﺑﺪاع أﻋﻤﺎل آﺳﺮة ﺣﺼﺪت اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﻮاﺋﺰ‬
،‫اﻟﻌﺎﻟﻤﻴﺔ؛ ﻓﻤﻨﻬﺎ ﻣﺎ ﻳﺘﺤﻮل ﻓﻴﻪ اﻟﺸﻌﺮ اﻟﻜﻼﺳﻴﻜﻲ اﻟﻌﺮﺑﻲ إﻟﻰ أﺷﻜﺎل ﺣﻴﻮاﻧﻴﺔ‬
ً
‫ﻣﺮددة ﺻﺪى زﺧﺎرف‬
‫وﺗﺘﻀﺎﻓﺮ ﻓﻲ ﺑﻌﻀﻬﺎ اﺧﺮ اﻟﺤﺮوف اﻟﻌﺮﺑﻴﺔ اﻟﻤﻨﻔﺮدة‬
‫ ﻓﻴﻤﺎ ﺗﻜﻠﻞ ﺑﻌﺾ أﻋﻤﺎﻟﻪ ا|ﺧﺮى آﻳﺎت ﻗﺮآﻧﻴﺔ ﺗﻨﺎﺟﻲ اﻟﻘﺪرة‬،‫ا|راﺑﻴﺴﻚ اﻟﺮاﺋﻌﺔ‬
‫ وﺳﺒﻘﺖ ﻣﺠﻤﻮﻋﺔ ﻫﺬه ا|ﻋﻤﺎل اﻟﻤﻤﻴﺰة ﺳﻠﺴﻠﺔ ﻣﻦ اﻟﻠﻮﺣﺎت اﻟﺘﻲ‬.‫ا@ﻟﻬﻴﺔ‬
‫ وﺟﺎءت‬.‫ﺟﺴﺪت ﺗﺠﺮﺑﺔ ﻣﺼﻄﻔﻰ ﻣﻊ اﻟﻜﻼﺳﻴﻜﻴﺔ ا|وروﺑﻴﺔ اﻟﺠﺪﻳﺪة ﻓﻲ ﻣﺼﺮ‬
ً
‫ﻣﺨﺘﻠﻔﺔ ﺗﻤﺎﻣ ًﺎ ﻓﻲ اﻋﺘﻤﺎدﻫﺎ ا|ﺳﻠﻮب اﻟﺘﺼﻮﻳﺮي ﻟﺘﻤﺜﻞ‬
‫أﻋﻤﺎﻟﻪ اﻟﻤﺒﻜﺮة ﻫﺬه‬
.‫ﻟﺤﻈﺔ أﻗﻞ ﺷﻬﺮة وﻻ ﺗﻘﻞ أﻫﻤﻴﺔ ﻋﻦ ﺑﻘﻴﺔ أﻋﻤﺎل ﻣﺼﻄﻔﻰ‬
‫ وﺑﺪأ دراﺳﺘﻪ اﻟﺠﺎﻣﻌﻴﺔ ﻓﻲ ﻛﻠﻴﺔ‬،١٩٤٣ ‫وﻟﺪ أﺣﻤﺪ ﻣﺼﻄﻔﻰ ﻓﻲ ا@ﺳﻜﻨﺪرﻳﺔ ﻋﺎم‬
‫ وأﺳﺲ‬،١٩٦١ ‫اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ واﻟﻬﻨﺪﺳﺔ اﻟﻤﻌﻤﺎرﻳﺔ ﻓﻲ ﺟﺎﻣﻌﺔ ا@ﺳﻜﻨﺪرﻳﺔ ﻋﺎم‬
‫ﻓﻴﻤﺎ ﺑﻌﺪ ﺳﻤﻌﺔ ﻃﻴﺒﺔ ﻓﻲ ﻣﺼﺮ ﺑﻮﺻﻔﻪ رﺳﺎﻣ ًﺎ ﺗﺼﻮﻳﺮﻳ ًﺎ ﻣﺒﺪﻋ ًﺎ ﻗﺒﻞ ﻣﻮاﺻﻠﺔ‬
‫ ﺣﻴﺚ ﺣﺼﻞ ﻋﻠﻰ درﺟﺔ اﻟﻤﺎﺟﺴﺘﻴﺮ واﻟﺪﻛﺘﻮراه ﻣﻦ ﺟﺎﻣﻌﺔ‬،‫ﺗﺪرﻳﺒﺎﺗﻪ ﻓﻲ ﻟﻨﺪن‬
‫ﺳﺎﻧﺖ ﻣﺎرﺗﻦ ﻟﻠﻔﻨﻮن واﻟﺘﺼﻤﻴﻢ؛ وﻛﺎﻧﺖ ﺗﻠﻚ اﻟﻔﺘﺮة ﻣﻦ اﻟﺒﺤﺚ ﻫﻲ اﻟﺘﻲ أﻟﻬﻤﺖ‬
‫اﻟﻔﻨﺎن ﻣﺼﻄﻔﻰ ﻟﺘﺤﻮﻳﻞ اﻫﺘﻤﺎﻣﻪ واﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ اﻟﺨﻂ اﻟﻌﺮﺑﻲ اﻟﺬي ﻳﻌﺪ أرﻗﻰ‬
‫ واﺳﺘﻄﺎع ﻣﺼﻄﻔﻰ ﺗﺤﻮﻳﻞ إﺑﺪاﻋﺎﺗﻪ ﻓﻲ ﻣﺠﺎل اﻟﺨﻂ اﻟﻌﺮﺑﻲ‬.‫أﺷﻜﺎل اﻟﻔﻦ ا@ﺳﻼﻣﻲ‬
،‫ واﻟﻄﺒﺎﻋﺔ اﻟﺤﺮﻳﺮﻳﺔ‬،‫ واﻟﺰﺟﺎج اﻟﻤﻠﻮن‬،‫إﻟﻰ أدوات ﺗﻌﺒﻴﺮﻳﺔ ﻣﺘﻨﻮﻋﺔ ﻓﻲ اﻟﻠﻮﺣﺎت‬
«‫ ﺣﻴﺚ أﺳﺲ ﻣﺮﻛﺰ »ﻓﻨﻮن‬،١٩٧٤ ‫ وأﻗﺎم اﻟﻔﻨﺎن ﻓﻲ ﻟﻨﺪن ﻣﻨﺬ ﻋﺎم‬.‫واﻟﻤﺸﻐﻮﻻت‬
.١٩٨٣ ‫ﻟﻠﻔﻦ واﻟﺘﺼﻤﻴﻢ اﻟﻌﺮﺑﻴﻴﻦ ﻓﻲ ﻋﺎم‬
Alexandria, Egypt, 1943
Portrait of a Poet, oil on canvas
117 x 79 cm, 1969
Ahmed Moustafa draws on his deep faith and scholarly knowledge of the science of Arabic script to create absorbing works
that have achieved international recognition: classical Arabic poetry transformed into zoomorphic images; a single
Arabic letter reverberating across the surface into swirling
arabesques; Quranic verses that call forth divine power. Preceding this signature body of work was a series drawing on
Moustafa’s neoclassical European training in Egypt. Strikingly
different, the earlier paintings are often figurative and thus
represent a lesser-known yet equally important moment in
Moustafa’s practice.
Born in Alexandria in 1943, the artist began his studies in 1961
at the Faculty of Fine Arts and Architecture at Alexandria University. He then established a prominent reputation as a figurative painter in Egypt, before continuing his training in London,
where he received a Master’s degree and doctorate from St.
Martin’s College of Art and Design. It was during this period
of research that Moustafa’s inspiration shifted focus to Islam’s
highest art form: calligraphy. His visually arresting penmanship
has been translated into the media of painting, stained glass,
silkscreen and tapestries. Since 1974, Moustafa has resided in
London and in 1983 he founded the Fe-Noon Ahmed Moustafa
Research Centre for Arab Art and Design.
RE: ORIENT 67
‫‪abdallah al QaSSar‬‬
‫‪Kuwait, 1941–2003‬‬
‫‪Untitled, oil on panel‬‬
‫‪100 x 155 cm, 1964‬‬
‫‪A pioneer of Kuwait’s modern art movement, Abdallah Al Qassar‬‬
‫‪is known for his depictions of scenes that draw on Arab culture‬‬
‫‪and heritage.‬‬
‫‪This 1964 untitled painting captures Al Qassar’s interest in‬‬
‫‪Kuwaiti fishing life on the Arabian Gulf. The 1968 painting‬‬
‫‪Tandeef Al Hinta also depicts a moment of work: a young girl‬‬
‫‪shifting grain. In both works, the repetitive act of manual labour‬‬
‫‪is conveyed through perspective, compositional simplicity and‬‬
‫‪colour palette. Covering the surface of the canvas of Tandeef‬‬
‫‪Al Hinta are Al Qassar’s signature swirling, seemingly intercon‬‬‫‪nected lines, which create an all over pattern that infuses his‬‬
‫‪compositions with dynamic depth and movement.‬‬
‫‪It is this combined use of line and colour that mark Al Qas‬‬‫‪sar as one of Kuwait’s most-technically versatile artists, one‬‬
‫‪who began exhibiting in during the late 1950s. In 1962, he‬‬
‫‪continued his training at Cairo’s School of Fine Arts, spend‬‬‫‪ing nearly a decade in Egypt after receiving a scholarship from‬‬
‫‪the Kuwaiti government. Upon returning, Al Qassar served as‬‬
‫‪the treasurer of Kuwait’s Free Atelier from 1971 until 1982. He‬‬
‫‪participated in more than 50 exhibitions throughout the Arab‬‬
‫‪world and Europe.‬‬
‫اﻟﻜﻮﻳﺖ‪٢٠٠٣-١٩٤١ ،‬‬
‫ﺑﻼ ﻋﻨﻮان‪ ،‬أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ زﺟﺎج‬
‫‪ ١٥٥ × ١٠٠‬ﺳﻢ‪١٩٦٤ ،‬‬
‫ﻳﻌﺪ ﻋﺒﺪ ا اﻟﻘﺼﺎر أﺣﺪ رواد اﻟﺤﺮﻛﺔ اﻟﻔﻨﻴﺔ اﻟﺤﺪﻳﺜﺔ ﻓﻲ اﻟﻜﻮﻳﺖ‪ ،‬وﻳﺸﺘﻬﺮ‬
‫ُ‬
‫ﺑﺘﺼﻮﻳﺮه ﻟﻠﻤﺸﺎﻫﺪ اﻟﻤﺴﺘﻘﺎة ﻣﻦ اﻟﺜﻘﺎﻓﺔ واﻟﺘﺮاث اﻟﻌﺮﺑﻴﻴﻦ‪.‬‬
‫وﺗﺠﺴﺪ ﻫﺬه اﻟﻠﻮﺣﺔ ﻏﻴﺮ اﻟﻤﻌﻨﻮﻧﺔ اﻟﺘﻲ رﺳﻤﻬﺎ اﻟﻘﺼﺎر ﻓﻲ ﻋﺎم ‪ ١٩٦٤‬ﻣﺪى‬
‫اﻫﺘﻤﺎم اﻟﻔﻨﺎن ﺑﺤﻴﺎة اﻟﺼﻴﺎدﻳﻦ اﻟﻜﻮﻳﺘﻴﻴﻦ ﻋﻠﻰ ﺷﻮاﻃﺊ اﻟﺨﻠﻴﺞ اﻟﻌﺮﺑﻲ‪ .‬ﻛﻤﺎ‬
‫ﺗﺘﺠﻠﻰ ﻟﻤﺴﺎت اﻟﺒﺮاﻋﺔ ﻓﻲ أﺳﻠﻮب اﻟﻘﺼﺎر ﻣﻦ ﺧﻼل ﻟﻮﺣﺘﻪ ”ﺗﻨﻈﻴﻒ اﻟﺤﻨﻄﺔ“ اﻟﺘﻲ‬
‫ً‬
‫ً‬
‫ﻣﻐﻤﻮرة وﻫﻲ ﺗﻐﺮﺑﻞ اﻟﺤﺒﻮب ﻓﻲ‬
‫ﺻﻐﻴﺮة‬
‫رﺳﻤﻬﺎ ﻋﺎم ‪ ،١٩٦٨‬واﻟﺘﻲ ﺗﺼﻮر ﻓﺘﺎة‬
‫اﻟﻤﻬﻤﺔ اﻟﻤﺘﻜﺮرة‬
‫ﻟﺤﻈﺔ ﻣﻐﺎﻓﻠﺔ ﻟﻠﺰﻣﻦ‪ .‬وﻳﻌﺒﺮ اﻟﻘﺼﺎر ﻋﻦ ﺑﺴﺎﻃﺔ وﻋﺰﻟﺔ ﻫﺬه‬
‫ّ‬
‫ﻋﺒﺮ ﺗﻨﺎﻏﻢ ﻓﺮﻳﺪ ﺑﻴﻦ ﺧﻄﻮط اﻟﻤﻨﻈﻮر‪ ،‬وﺑﺴﺎﻃﺔ اﻟﺘﺮاﻛﻴﺐ‪ ،‬وﻃﻴﻒ ا|ﻟﻮان‬
‫اﻟﻤﺴﺘﺨﺪم‪.‬وﺗﻐﺸﻰ ﻟﻮﺣﺎت اﻟﻘﺼﺎر اﻟﺰﻳﺘﻴﺔ دواﻣﺎت ﻣﻦ اﻟﺨﻄﻮط اﻟﻤﻤﻴﺰة اﻟﺘﻲ‬
‫ﺗﺒﺪو ﻣﺘﺮاﺑﻄﺔ ﻓﻲ ﻇﺎﻫﺮﻫﺎ ﺑﺤﻴﺚ ﺗﺸﻜﻞ ﻓﻲ ﻣﺠﻤﻠﻬﺎ ﻧﻤﻮذﺟ ًﺎ ﻳﺠﻤﻊ ﺑﻴﻦ ﺗﺮاﻛﻴﺒﻪ‬
‫اﻟﻔﻨﻴﺔ وﺣﺲ ﺑﺼﺮي ﻣﻔﻌﻢ ﺑﺎﻟﻌﻤﻖ واﻟﺤﺮﻛﺔ‪.‬‬
‫ﻛﺬﻟﻚ‪ ،‬ﻳﺴﺘﺨﺪم اﻟﻘﺼﺎر اﻟﻀﻮء واﻟﻈﻞ ﺑﺄﺳﻠﻮب ﻳﻮﻟﺪ اﻧﻄﺒﺎﻋ ًﺎ ﺑﻮﺟﻮد اﻟﻤﻨﻈﻮر‪،‬‬
‫وﻫﺬه اﻟﺘﻮﻟﻴﻔﺔ اﻟﻤﺘﻘﻨﺔ ﻣﻦ ا|ﻟﻮان واﻟﺨﻄﻮط ﻫﻲ ﻣﺎ ﺗﺠﻌﻞ اﻟﻘﺼﺎر واﺣﺪا ً ﻣﻦ‬
‫أﻛﺜﺮ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻜﻮﻳﺘﻴﻴﻦ ﺗﻨﻮﻳﻌ ًﺎ ﻓﻲ ا|ﺳﺎﻟﻴﺐ اﻟﻔﻨﻴّﺔ‪ ،‬اﻟﺴﻤﺔ اﻟﺘﻲ ﺑﺪت ﺗﺘﺠﻠﻰ‬
‫ﻓﻲ أﻋﻤﺎﻟﻪ أواﺧﺮ ﺧﻤﺴﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‪ .‬ﺗﺎﺑﻊ اﻟﻔﻨﺎن ﺗﺪرﻳﺒﻪ ﻓﻲ ﻛﻠﻴﺔ اﻟﻔﻨﻮن‬
‫اﻟﺠﻤﻴﻠﺔ ﺑﺎﻟﻘﺎﻫﺮة ﻋﺎم ‪ ،١٩٦٢‬ﺣﻴﺚ أﻣﻀﻰ ﻧﺤﻮ ﻋﻘﺪ ﻣﻦ اﻟﺰﻣﺎن ﻓﻲ ﻣﺼﺮ ﺑﻌﺪ‬
‫ﺣﺼﻮﻟﻪ ﻋﻠﻰ ﻣﻨﺤﺔ ﻣﻦ اﻟﺤﻜﻮﻣﺔ اﻟﻜﻮﻳﺘﻴﺔ‪ .‬وﻟﺪى ﻋﻮدﺗﻪ إﻟﻰ وﻃﻨﻪ ا|م‪ ،‬ﺷﻐﻞ‬
‫اﻟﻘﺼﺎر ﻣﻨﺼﺐ أﻣﻴﻦ ﻋﺎم اﻟﻤﺮﺳﻢ اﻟﺤﺮ ﺧﻼل اﻟﻔﺘﺮة ‪ .١٩٨٢-١٩٧١‬ﺷﺎرك اﻟﻘﺼﺎر ﻓﻲ‬
‫أﻛﺜﺮ ﻣﻦ ‪ 05‬ﻣﻌﺮﺿ ًﺎ ﻓﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ وأوروﺑﺎ‪.‬‬
abdallah al QaSSar
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﻗﻤﺎش‬،‫ﺗﻨﻈﻴﻒ اﻟﺤﻨﻄﺔ‬
١٩٦٨ ،‫ ﺳﻢ‬٧٨ × ٩٧
Tandeef Al Hinta, oil on canvas
97 x 78 cm, 1968
RE: ORIENT 71
abdul-halim radwi
‫ﻋﺒــــﺪاﻟــﺤﻠﻴــﻢ رﺿـــــﻮي‬
٢٠٠٦ – ١٩٣٩ ،‫ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ‬،‫ﻣﻜﺔ اﻟﻤﻜﺮﻣﺔ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻣﻊ اﻟﺮﻣﻞ ﻋﻠﻰ ﻟﻮح ﺧﺸﺒﻲ‬،‫ﻃﺒﻴﻌﺔ ﺻﺎﻣﺘﺔ ﻣﻊ اﻟﺴﻤﻚ‬
١٩٧٥ ،‫ ﺳﻢ‬٤٦ × ٣٣
‫ﻳﻌﺪ اﻟﻔﻨﺎن اﻟﺘﺸﻜﻴﻠﻲ ﻋﺒﺪ اﻟﺤﻠﻴﻢ رﺿﻮي أﺣﺪ أﺑﺮز ﻓﻨﺎﻧﻲ اﻟﻤﻤﻠﻜﺔ اﻟﻌﺮﺑﻴّﺔ‬
ّ
‫ وﻫﻮ ﻳﺼﻮر ﻓﻲ أﻋﻤﺎﻟﻪ اﻟﻔﻨﻴﺔ ﻃﺒﻴﻌﺔ اﻟﺤﻴﺎة اﻟﺼﺤﺮاوﻳﺔ واﻟﻤﻮروث‬،‫اﻟﺴﻌﻮدﻳّﺔ‬
‫ ﻣﺮﺗﻜﺰا ً ﻓﻲ ذﻟﻚ إﻟﻰ أﺳﻠﻮب ﻣﺘﻔﺮد ﻳﺠﻤﻊ‬،‫اﻟﺸﻌﺒﻲ واﻟﻔﻦ اﻟﻤﻌﻤﺎري اﻟﺘﻘﻠﻴﺪي‬
‫ اﻟﻤﻮﻟﻮد ﺑﻤﺪﻳﻨﺔ‬،‫ وﺷﻬﺪ رﺿﻮي‬.‫ وا@رث اﻟﺜﻘﺎﻓﻲ اﻟﻌﺮﻳﻖ‬،‫ﺑﻴﻦ ا|ﺳﺎﻟﻴﺐ اﻟﻤﻌﺎﺻﺮة‬
‫ إدﺧﺎل ﻣﺎدة اﻟﻔﻦ ﺿﻤﻦ اﻟﻤﻨﺎﻫﺞ اﻟﺪراﺳﻴﺔ اﻻﺑﺘﺪاﺋﻴﺔ واﻟﺜﺎﻧﻮﻳﺔ‬،‫ﻣﻜﺔ اﻟﻤﻜﺮﻣﺔ‬
‫ وﻛﺎن ﻣﻦ أواﺋﻞ اﻟﻔﻨﺎﻧﻴﻦ اﻟﺴﻌﻮدﻳﻴﻦ‬،‫اﻟﺴﻌﻮدﻳّﺔ ﻓﻲ ﺧﻤﺴﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬
.‫اﻟﺬﻳﻦ ﺗﻢ إﻳﻔﺎدﻫﻢ إﻟﻰ اﻟﺨﺎرج ﻟﻠﺤﺼﻮل ﻋﻠﻰ ﺷﻬﺎدة ﻓﻲ ﻣﺠﺎل اﻟﻔﻦ‬
ً
‫ ﺑﻤﺎ‬،‫ﻣﻨﺤﻮﺗﺔ ﺧﺎرﺟﻴﺔ ﻟﺘﺰﻳﻴﻦ ﻣﻴﻨﺎء ﺟﺪة ﻋﻠﻰ ﺳﻮاﺣﻞ اﻟﺒﺤﺮ ا|ﺣﻤﺮ‬
١٥ ‫أﺑﺪع رﺿﻮي‬
‫ﻓﻲ ذﻟﻚ ﻣﻨﺤﻮﺗﺘﻲ »ﻣﺤﺒﺮة« و«ﻗﻠﻢ وورﻗﺔ« اﻟﻠﺘﻴﻦ ﺗﺼﻮران ﻫﺬه ا|دوات ﺑﺤﺠﻢ‬
‫ وﻳﺮﻛﺰ اﻟﻔﻨﺎن رﺿﻮي أﻳﻀ ًﺎ ﻋﻠﻰ ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﻄﺒﻴﻌﺔ اﻟﺼﺎﻣﺘﺔ ﻓﻲ ﻟﻮﺣﺘﻪ‬.‫ﻛﺒﻴﺮ‬
‫ واﻟﺘﻲ اﺳﺘﺨﺪم‬،«‫ ﺑﻌﻨﻮان »ﻃﺒﻴﻌﺔ ﺻﺎﻣﺘﺔ ﻣﻊ اﻟﺴﻤﻚ‬١٩٧٥ ‫اﻟﺘﻲ رﺳﻤﻬﺎ ﻋﺎم‬
‫ﻓﻴﻬﺎ ا|ﻟﻮان واﻟﺮﻣﻞ ﻟﺘﻘﺪﻳﻢ ﺻﻮرة ﻣﺴﻄﺤﺔ ﻟﺴﻤﻜﺘﻴﻦ ﺿﻤﻦ ﺗﺮﻛﻴﺒﺔ ﻫﻨﺪﺳﻴﺔ‬
‫ وﻳﺸﻴﺮ ﺗﻮﻗﻴﻊ رﺿﻮي ﻟﻠﻮﺣﺘﻪ ﺑﺎ|ﺣﺮف اﻟﻌﺮﺑﻴﺔ واﻟﻼﺗﻴﻨﻴﺔ إﻟﻰ أﻧﻪ ﻛﺎن ﻳﺮﺳﻢ‬،‫ﺣﺮة‬
‫ ورﻏﻢ أن ﺑﻠﺪان ﺷﺒﻪ اﻟﺠﺰﻳﺮة اﻟﻌﺮﺑﻴﺔ ﺟﺎءت ﺑﻌﺪ ﺟﺎراﺗﻬﺎ ﻓﻲ‬.‫ﻟﺠﻤﻬﻮر ﻋﺎﻟﻤﻲ‬
‫ ﻏﻴﺮ أن اﻟﺴﻌﻮدﻳﺔ أﺳﺴﺖ أوﻟﻰ‬،‫ﺑﻘﻴﺔ اﻟﻤﻨﻄﻘﺔ اﻟﻌﺮﺑﻴﺔ ﻣﻦ ﺣﻴﺚ رﻋﺎﻳﺔ اﻟﻔﻨﻮن‬
‫ وﻳﺬﻛﺮ أن رﺿﻮي ﻛﺎن ﻣﻦ‬.‫ﺟﻤﻌﻴﺎﺗﻬﺎ اﻟﻔﻨﻴﺔ ﻓﻲ أواﺧﺮ ﺳﺘﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬
‫أواﺋﻞ اﻟﺤﺎﺻﻠﻴﻦ ﻋﻠﻰ درﺟﺔ اﻟﺪﻛﺘﻮراه ﻣﻦ »ا|ﻛﺎدﻳﻤﻴﺔ اﻟﻤﻠﻜﻴﺔ اﻟﻌﻠﻴﺎ ﻟﻠﻔﻨﻮن‬
«‫ ﻛﻤﺎ ﻋﻤﻞ ﻣﺪﻳﺮا ً ﻟـــ »ﻣﺮﻛﺰ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ‬،١٩٧٩ ‫اﻟﺠﻤﻴﻠﺔ« ﺑﻤﺪرﻳﺪ ﻓﻲ ﻋﺎم‬
.١٩٧٤-١٩٦٨ ‫ﺑﺠﺪة ﺧﻼل اﻟﻔﺘﺮة ﺑﻴﻦ‬
Mecca, Kingdom of Saudi Arabia, 1939–2006
Still Life with Fish, oil and sand on masonite
33 x 46 cm, 1975
References to Saudi Arabia’s desert life, folklore and traditional
architecture characterise the art of Abdul-Halim Radwi, one of
the kingdom’s most-respected artists. Born in the holy city of
Mecca, Radwi was among a generation of artists who witnessed
the establishment of Saudi Arabia’s first modern art associations in the late 1960s. Among the first Saudi artists sponsored
to pursue a degree in art abroad, Radwi’s work is guided by
both modernist sensibilities and cultural heritage.
Radwi is perhaps best known for 15 monumental outdoor
sculptures adorning the Red Sea port city of Jeddah, including Inkwell, Pen and Paper, which reproduces these objects on
a large scale. The artist also engaged with the still life genre as
in the 1975 painting, Still Life with Fish, in which he uses paint
and sand to produce a flattened image of two fish in a loose
geometric composition. Signing the piece with both Arabic and
Latin script demonstrates that Radwi was painting for an international audience. While the Arabian Peninsula took steps to
endorse the arts later than in some neighbouring Arab countries, from the 1960s important art institutions emerged in
Saudi Arabia. Radwi, who obtained a doctorate from the Royal
Academy of Fine Arts in Madrid in 1979, was director of Jeddah’s Centre for Fine Arts from 1968 to 1974.
RE: ORIENT 73
Samir raFi
٢٠٠٤-١٩٦٢ ،‫ ﻣﺼﺮ‬،‫اﻟﻘﺎﻫﺮة‬
‫ أﻟﻮان زﻳﺘﻴﺔ وﻣﻮاد ﻣﺨﺘﻠﻔﺔ ﻋﻠﻰ ورق ﻣﻘﻮى‬،‫ﻣﻮﺳﻴﻘﻲ ﺟﺎﻟﺲ‬
١٩٦٣ ، ‫ ﺳﻢ‬٦٨,٢ × ٥٠
‫ﺗﻤﺘﺰج ﻓﻲ أﻋﻤﺎل اﻟﻔﻨﺎن ﺳﻤﻴﺮ راﻓﻊ ﺗﻔﺎﺻﻴﻞ اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ اﻟﻤﺼﺮﻳﺔ ﻣﻊ‬
‫ ﻓﻜﺎن ﻣﻦ أﺑﺮز وﺟﻮه اﻟﺤﺮﻛﺔ اﻟﺴﻮرﻳﺎﻟﻴﺔ اﻟﺘﻲ‬،‫ا|ﺳﺎﻟﻴﺐ اﻟﺮﻣﺰﻳﺔ واﻟﺴﻮرﻳﺎﻟﻴﺔ‬
‫ وﻛﺎن‬.‫ ﻛﻞ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ رﻣﺴﻴﺲ ﻳﻮﻧﺎن وﺟﻮرج ﺣﻨﻴﻦ‬،‫ﺣﻤﻞ ﻟﻮاءﻫﺎ ﻓﻲ ﻣﺼﺮ‬
‫ وﻫﻲ ﻣﺠﻤﻮﻋﺔ ﻓﻨﻴﺔ‬،«‫راﻓﻊ ﻣﻦ ا|ﻋﻀﺎء اﻟﺒﺎرزﻳﻦ ﻓﻲ »ﻣﺠﻤﻮﻋﺔ اﻟﻔﻦ اﻟﻤﻌﺎﺻﺮ‬
،‫ وﺗﺆﻛﺪ ﻋﻠﻰ ﻋﻼﻗﺔ اﻟﻔﻦ ﺑﺎﻟﻤﺠﺘﻤﻊ واﻟﺜﻘﺎﻓﺔ اﻟﺸﻌﺒﻴﺔ‬١٩٤٦ ‫ﺗﺄﺳﺴﺖ ﻋﺎم‬
‫ وﺣﻈﻲ راﻓﻊ ﺧﻼل اﻟﺨﻤﺴﻴﻨﻴﺎت‬.‫واﻟﺘﻜﻴﻒ ﻣﻊ ا|ﺷﻜﺎل واﻟﺘﻘﻨﻴﺎت اﻟﻤﻌﺎﺻﺮة‬
‫ﺑﺈﺷﺎدة اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻨﻘﺎد اﻟﻔﻨﻴﻴﻦ وﻋﻠﻰ رأﺳﻬﻢ اﻟﻨﺎﻗﺪ إﻳﻤﻴﻪ ﻋﺎزار اﻟﺬي ﻛﺎن‬
‫ واﻟﺬي ﻧﻮه ﺑﺄﺳﻠﻮب راﻓﻊ ﻓﻲ‬،‫ﻣﺪرﺳ ًﺎ ﻟﻔﻦ اﻟﺠﻤﺎﻟﻴﺎت ﻓﻲ ﺟﺎﻣﻌﺔ ﻋﻴﻦ ﺷﻤﺲ‬
.‫إﺑﺮاز ﻣﺄﺳﺎة اﻟﺤﻴﺎة اﻟﻤﻌﺎﺻﺮة‬
‫ﺟﺴﺪ راﻓﻊ ﺷﺨﻮﺻ ًﺎ ﺗﺠﻤﻌﻮا‬
ّ ،«‫وﻣﻦ ﺧﻼل ﻋﻤﻠﻪ اﻟﺸﻬﻴﺮ »ﺣﺮاس اﻟﻤﻘﻄﻢ‬
.١٩٥٢ ‫ ﺣﻴﺚ ﻛﺎن ﻳﺠﺘﻤﻊ اﻟﺼﻮﻓﻴّﻮن ﻗﺒﻞ ﺛﻮرة‬،‫ﻗﺮب ﺗﻼل ﺟﻨﻮب اﻟﻘﺎﻫﺮة‬
،‫ارﺗﺎد راﻓﻊ اﻟﻤﺪرﺳﺔ اﻟﺜﺎﻧﻮﻳﺔ اﻟﺘﻲ أﺷﺮف ﻋﻠﻴﻬﺎ آﻧﺬاك اﻟﻔﻨﺎن ﺣﺴﻴﻦ ﻳﻮﺳﻒ أﻣﻴﻦ‬
‫ﺛﻢ ﺗﺨﺮج ﻣﻦ »ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ« ﻓﻲ اﻟﻘﺎﻫﺮة ﻣﻊ درﺟﺎت ﻋﻠﻤﻴﺔ ﻣﺘﻘﺪﻣﺔ‬
‫ وﺧﻼل‬.‫ وﻧﺎل ﺷﻬﺎدة اﻟﺪﻛﺘﻮراه ﻓﻲ ﺗﺎرﻳﺦ اﻟﻔﻦ ﻣﻦ ﺟﺎﻣﻌﺔ اﻟﺴﻮرﺑﻮن‬،‫ﻓﻲ اﻟﻔﻦ‬
،‫ ﻋﺮض أﻋﻤﺎﻟﻪ ﻓﻲ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻌﺎرض اﻟﻔﻨﻴّﺔ اﻟﺪوﻟﻴّﺔ اﻟﺸﻬﻴﺮة‬،‫ﺗﻠﻚ اﻟﻔﺘﺮة‬
‫وﻋﺎد ﺑﻌﺪﻫﺎ إﻟﻰ اﻟﻘﺎﻫﺮة ﻟﻴﺼﺒﺢ أﺳﺘﺎذا ً ﻓﻲ ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ وﻳﺘﺨﺼﺺ ﻓﻲ‬
.‫ﻣﺠﺎل اﻟﺼﺤﺎﻓﺔ اﻟﻔﻨﻴﺔ‬
Cairo, Egypt, 1926-2004
Seated Musician, oil and mixed media on board
50 x 68.2 cm, 1963
Representations of Egyptian daily life infused with surrealism
and symbolism characterise the artwork of Samir Rafi, who
emphatically captured the surrealist movement spearheaded
by Ramsis Yunan and Georges Henein. Rafi was a prominent
member of the Contemporary Art Group, an artist collective
founded in 1946 that emphasised the relationship of art to society and popular culture and adapted modern forms and technique. The artist received critical acclaim during the 1950s from
Aimé Azar, a teacher of aesthetics at Ain Shams University, who
noted how Rafi accentuated the tragedy of modern life.
In a famous work Les Gardes du Mokattam (Guardians of the
Mokattam), Rafi represented figures assembled near the hills
in Southern Cairo, a known gathering place for Sufis prior to the
1952 revolutionary coup.
After attending secondary school under the famous art
teacher Hussayn Yusuf Amin, Rafi became a graduate of the
School of Fine Arts in Cairo. He earned advanced degrees in
art and pursued Ph.D studies in art history at the Sorbonne.
Exhibiting widely and taking part in numerous international
exhibitions during this period, Rafi later returned to Cairo to
assume a role as an art professor at the School of Fine Arts
and engage in art journalism.
RE: ORIENT 75
‫‪Samir raFi‬‬
‫‪Group of Figures in a Village, oil on canvas‬‬
‫‪60 x 80 cm, 1966‬‬
‫ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﺷﺨﺎص ﻓﻲ ﻗﺮﻳﺔ‪ ،‬أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﻗﻤﺎش‬
‫‪ ٨٠ × ٦٠‬ﺳﻢ‪١٩٦٦ ،‬‬
‫‪Samir raFi‬‬
‫‪Untitled, oil on wood‬‬
‫‪50 x64 cm, 1973‬‬
‫ﺑﺪون ﻋﻨﻮان ‪ ،‬أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﺨﺸﺐ‬
‫‪ ٦٤ × ٥٠‬ﺳﻢ‪١٩٧٣ ،‬‬
n o u r i a l raw i
‫ﻧــﻮري اﻟﺮاوي‬
‫دأب اﻟﻔﻨﺎن اﻟﻌﺮاﻗﻲ اﻟﻤﺒﺪع ﻧﻮري اﻟﺮاوي ﺑﺸﻜﻞ ﻣﺴﺘﻤﺮ ﻋﻠﻰ ﺗﻘﺪﻳﻢ ﺗﺼﻮرات‬
‫ اﻟﺬي وﻟﺪ ﺑﻤﺪﻳﻨﺔ راوة‬،‫ﺷﻌﺮﻳّﺔ ﻟﻠﻤﺪﻳﻨﺔ اﻟﻌﺮاﻗﻴﺔ اﻟﺘﻘﻠﻴﺪﻳﺔ؛ وﻋﺎﻳﺶ اﻟﺮاوي‬
‫ ﻧﻬﻀﺔ اﻟﻌﺎﺻﻤﺔ اﻟﻌﺮاﻗﻴّﺔ ﺑﻐﺪاد ﻛﻤﺮﻛﺰ ﺣﻴﻮي ﻟﻠﻔﻨﻮن ﺧﻼل‬،١٩٢٥ ‫ﻋﺎم‬
.‫ﺧﻤﺴﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬
The theme of the traditional Iraqi town is constantly revisited in
the paintings of seminal Iraqi artist Nouri Al Rawi. Born in Rawa
in 1925, the artist witnessed Baghdad’s emergence as a vibrant
art centre in the 1950s.
‫وﻳﻜﺮس ﻫﺬا اﻟﻔﻨﺎن أﺳﻠﻮﺑﻪ اﻟﺬي ﻳﺠﻤﻊ ﺑﻴﻦ اﻟﺘﻤﺜﻴﻞ واﻟﺘﺠﺮﻳﺪ ﻟﺘﺼﻮﻳﺮ اﻟﻤﺸﺎﻫﺪ‬
‫ وﺷﻜﻠﺖ‬.‫اﻟﻄﺒﻴﻌﻴﺔ واﻟﻌﻤﺮاﻧﻴﺔ ﻟﻠﻌﺮاق ﺑﺎﻻﺳﺘﻨﺎد إﻟﻰ ﺗﺠﺎرﺑﻪ اﻟﺸﺨﺼﻴﺔ‬
‫أﻋﻤﺎل اﻟﺮاوي ﺟﺰءا ً ﻣﻦ ﺟﺪل أوﺳﻊ ﻧﻄﺎﻗ ًﺎ ﺳﺎد اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ ﺣﻮل‬
‫ﺳﻮاء ﻋﻠﻰ‬
‫ﺷﻜﻞ اﻟﻬﻮﻳﺔ اﻟﻌﺮﺑﻴﺔ ﺧﻼل ﻣﺮﺣﻠﺔ ﻣﺎ ﺑﻌﺪ اﻻﺳﺘﻘﻼل‬
ً
‫ وﻣﻦ ﺧﻼل إﺿﺎءﺗﻪ ﻋﻠﻰ ﻓﻦ اﻟﻌﻤﺎرة‬.‫اﻟﻤﺴﺘﻮى اﻟﻔﺮدي أو اﻟﺠﻤﺎﻋﻲ‬
‫ ﻳﺴﺘﺤﻀﺮ اﻟﺮاوي ﻓﻲ ﻟﻮﺣﺎﺗﻪ ﻟﻤﺴﺎت‬،‫اﻟﺒﻴﻀﺎء ﻓﻲ ﻣﺴﻘﻂ رأﺳﻪ‬
‫ وﻫﻮ ﻳﺤﺮص ﻏﺎﻟﺒ ًﺎ ﻋﻠﻰ‬،‫ﺣﺎﻟﻤﺔ ﻣﻦ ﺧﻼل اﻟﺒﻨﻰ وا|ﻟﻮان اﻟﻤﺮﻛﺰة‬
‫ﺗﻀﻤﻴﻦ ﺗﺼﻮراﺗﻪ اﻟﺸﻌﺮﻳّﺔ ﻓﻲ أﻋﻤﺎﻟﻪ ﻟﺘﻮﻓﻴﺮ ﻋﻨﺎﺻﺮ اﻻﺳﺘﻌﺎرة‬
.‫واﻟﻤﻮﻗﻊ اﻟﺜﻘﺎﻓﻲ‬
Merging representation and abstraction, Al Rawi’s poetic
depictions of Iraq’s natural and urban landscapes draw
on personal experience and memory. Often referencing the whitewashed architecture of his hometown,
Al Rawi instils a dreamlike quality in his paintings
through distilled colours and textures, often integrating poetry to provide an element of cultural
location and metaphor. His work relates to a larger
critical debate in the Arab World about post-independence identity and cultural authenticity.
‫ ﺣﻴﺚ أﺳﺲ‬،‫وﻟﻌﺐ اﻟﺮاوي دورا ً ﻣﺤﻮرﻳ ًﺎ ﻓﻲ ﺗﻄﻮر ﻣﺸﻬﺪ اﻟﻔﻦ اﻟﻌﺮاﻗﻲ اﻟﻤﻌﺎﺻﺮ‬
‫ وﻗﺎد ﻋﺪدا ً ﻣﻦ اﻟﻤﺒﺎدرات اﻟﻔﻨﻴّﺔ ﺑﺮﻋﺎﻳﺔ‬،«‫»اﻟﻤﺘﺤﻒ اﻟﻮﻃﻨﻲ ﻟﻠﻔﻦ اﻟﺤﺪﻳﺚ‬
‫ ﺗﺨﺮّج اﻟﺮاوي ﻣﻦ »ﻣﻌﻬﺪ ﺑﻐﺪاد ﻟﻠﻔﻨﻮن‬.‫اﻟﺤﻜﻮﻣﺔ اﻟﻌﺮاﻗﻴﺔ ﻓﻲ اﻟﺜﻤﺎﻧﻴﻨﻴﺎت‬
‫ وﻛﺎن ﻣﻦ أواﺋﻞ ﻛﺘﺎب اﻟﺼﻔﺤﺎت ا|دﺑﻴﺔ واﻟﻔﻨﻴﺔ ﻓﻲ اﻟﺼﺤﻒ‬،١٩٥٩ ‫اﻟﺠﻤﻴﻠﺔ« ﻋﺎم‬
ً ‫ ﻓﻀ‬،‫اﻟﻌﺮاﻗﻴﺔ؛ وأﻗﺎم ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻟﻤﻌﺎرض اﻟﻔﺮدﻳﺔ داﺧﻞ اﻟﻌﺮاق وﺧﺎرﺟﻪ‬
‫ﻼ ﻋﻦ‬
‫ وﺗﻢ‬.١٩٦٢ ‫ﺗﺄﻟﻴﻔﻪ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻜﺘﺐ ﻣﺜﻞ »ﺗﺄﻣﻼت ﻓﻲ اﻟﻔﻦ اﻟﻌﺮاﻗﻲ اﻟﺤﺪﻳﺚ« ﻋﺎم‬
‫ﺗﻜﺮﻳﻢ إﺳﻬﺎﻣﺎت اﻟﺮاوي ﻓﻲ ﻣﺠﺎل اﻟﺘﻨﻤﻴﺔ اﻟﺜﻘﺎﻓﻴﺔ اﻟﻌﺮاﻗﻴﺔ ﺑﻌﺪ اﻟﺤﺮب ﺑﻤﺎ ﻓﻲ‬
.‫ذﻟﻚ ﺣﺼﻮﻟﻪ ﻋﻠﻰ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺠﻮاﺋﺰ اﻟﺤﻜﻮﻣﻴﺔ رﻓﻴﻌﺔ اﻟﻤﺴﺘﻮى‬
Al Rawi played a pivotal role in the development of modern
Iraqi art, founding the National Museum of Modern Art and
spearheading several government-sponsored art initiatives in
the 1980s. A 1959 graduate of Baghdad’s Institute of Fine Arts,
the artist was the first to establish literature and arts pages in
the Iraqi press. Al Rawi, in addition to his many solo exhibitions
at home and abroad, has authored several books including
Reflections on Modern Iraqi Art published in 1962. His profound
contributions to Iraq’s cultural development have been recognised in post-war Iraq by the highest levels of government.
Photo courtesy Iraqi Art Today: Art Series No. 15, by Jabra Ibrahim Jabra, 1976.
Rawa, Iraq, 1925
Untitled, oil on canvas
160 x 84 cm, 1957
.١٩٧٦ ،‫ ﺟﺒﺮا إﺑﺮاﻫﻴﻢ ﺟﺒﺮا‬،«١٥ ‫ اﻟﺴﻠﺴﻠﺔ اﻟﻔﻨﻴﺔ رﻗﻢ‬:‫اﻟﺼﻮرة ﻣﻘﺪﻣﺔ ﻣﻦ ﻣﻌﺮض »اﻟﻔﻦ اﻟﻌﺮاﻗﻲ اﻟﻴﻮم‬
1925 ،‫ اﻟﻌﺮاق‬،‫رواة‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻘﻤﺎش‬،‫ﺑﺪون ﻋﻨﻮان‬
1957 ،‫ ﺳﻢ‬84 x 160
RE: ORIENT 81
iSSam al Said
‫ﻋﺼــﺎم اﻟﺴﻌﻴـــﺪ‬
١٩٨٨-١٩٣٨ ,‫ اﻟﻌﺮاق‬،‫ﺑﻐﺪاد‬
‫وﺟﻌﻠﻨﺎ ﻣﻦ اﻟﻤﺎء ﻛﻞ ﺷﻲء ﺣﻲ‬
‫أﻟﻮان زﻳﺘﻴﺔ وﻣﻮاد ﻣﺨﺘﻠﻔﺔ ﻋﻠﻰ ﻗﻤﺎش‬
١٩٦٢ ،‫ ﺳﻢ‬٦٣ × ٧٥,٥
‫ﻛﺮس اﻟﻤﻌﻤﺎري واﻟﺮّﺳﺎم واﻟﻤﺼﻤﻢ وﻓﻨﺎن اﻟﻄﺒﺎﻋﺔ اﻟﻌﺮاﻗﻲ ﻋﺼﺎم اﻟﺴﻌﻴﺪ‬
.‫ﺧﺒﺮﺗﻪ اﻟﻮاﺳﻌﺔ ﻓﻲ ﻣﺠﺎل اﻟﺘﺼﻤﻴﻢ اﻟﺘﻘﻠﻴﺪي وﺗﻄﺒﻴﻖ ﻋﻠﻮم اﻟﺠﻤﺎل اﻟﺤﺪﻳﺜﺔ‬
‫ورﻏﻢ أﻧﻪ ﻧﺠﻞ رﺋﻴﺲ اﻟﻮزراء اﻟﻌﺮاﻗﻲ ا|ﺳﺒﻖ ﻧﻮري اﻟﺴﻌﻴﺪ اﻟﺬي ﻫﻴﻤﻦ ﻋﻠﻰ‬
١٩٥٨-١٩٣٠ ‫ﻣﺠﺮﻳﺎت اﻟﺴﺎﺣﺔ اﻟﺴﻴﺎﺳﻴﺔ ﻟﻠﺒﻼد ﺧﻼل اﻟﻔﺘﺮة اﻟﻤﻤﺘﺪة ﺑﻴﻦ‬
‫ وﻛﺮس اﻟﺴﻌﻴﺪ أﺳﺎﻟﻴﺒﻪ ا@ﺑﺪاﻋﻴﺔ‬.‫ ﻏﻴﺮ أﻧﻪ ﺗﻔﺮغ ﺑﺸﻜﻞ ﻛﺎﻣﻞ ﻟﺤﻴﺎة اﻟﻔﻦ‬،
‫وﺟﻮاﻧﺐ ﺣﻴﺎﺗﻪ اﻟﺸﺨﺼﻴﺔ ﻟ¯ﺿﺎءة ﻋﻠﻰ اﻟﻌﻼﻗﺔ اﻟﻘﺎﺋﻤﺔ ﺑﻴﻦ اﻟﻘﻴﻢ اﻟﺮوﺣﺎﻧﻴّﺔ‬
‫ا@ﺳﻼﻣﻴﺔ وا|ﺳﺲ اﻟﻌﻠﻤﻴﺔ اﻟﻤﺘﺄﺻﻠﺔ ﻓﻲ اﻟﻔﻨﻮن ا@ﺳﻼﻣﻴﺔ؛ وﻳﺸﻴﺮ ﻣﻦ ﺧﻼل‬
‫ﻟﻮﺣﺘﻪ اﻟﺘﻲ اﺳﺘﻤﺪ اﺳﻤﻬﺎ ﻣﻦ اﻳﺔ اﻟﻘﺮآﻧﻴﺔ اﻟﻜﺮﻳﻤﺔ ”وﺟﻌﻠﻨﺎ ﻣﻦ اﻟﻤﺎء ﻛﻞ‬
.‫ﺷﻲء ﺣﻲ“ إﻟﻰ ﺟﻮﻫﺮ اﻟﻜﺎﺋﻨﺎت اﻟﺤﻴﺔ اﻟﺘﻲ ﺗﺘﻜﻮن ﻓﻲ اﻟﻤﻘﺎم ا|ول ﻣﻦ اﻟﻤﺎء‬
-١٩٥٨ ‫درس اﻟﺴﻌﻴﺪ اﻟﻌﻤﺎرة ﻓﻲ ﺟﺎﻣﻌﺔ ﻛﺎﻣﺒﺮﻳﺪج ﺧﻼل اﻟﻔﺘﺮة اﻟﻤﻤﺘﺪة ﺑﻴﻦ‬
‫ وﻫﻲ اﻟﻔﺘﺮة ذاﺗﻬﺎ اﻟﺘﻲ رﺳﻢ ﺧﻼﻟﻬﺎ ﻟﻮﺣﺘﻪ ا@ﺑﺪاﻋﻴﺔ اﻟﻤﺸﺤﻮﻧﺔ ﺑﺎﻟﻌﺎﻃﻔﺔ‬، ١٩٦١
‫ ﻋﻦ ﻋﻤﺮ‬١٩٨٨ ‫ وﺗﻮﻓﻲ اﻟﺴﻌﻴﺪ ﻋﺎم‬.‫”رأس اﻟﻤﺴﻴﺢ“ ﻋﻘﺐ إﻋﺪام واﻟﺪه ﻓﻲ اﻟﻌﺮاق‬
‫ ﻋﺎﻣ ًﺎ ﻗﺒﻞ أن ﻳﻨﻬﻲ أﻃﺮوﺣﺘﻪ ﻟﻠﺤﺼﻮل ﻋﻠﻰ درﺟﺔ اﻟﺪﻛﺘﻮراه ﺗﺤﺖ ﻋﻨﻮان‬49 ‫ﻧﺎﻫﺰ‬
‫ واﻟﺘﻲ ﺗﻢ ﻧﺸﺮ أﺟﺰاء ﻣﻨﻬﺎ ﻓﻲ‬،“‫”ﻣﻨﻬﺠﻴﺔ ا|ﺑﻌﺎد اﻟﻬﻨﺪﺳﻴﺔ ﻓﻲ اﻟﻌﻤﺎرة ا@ﺳﻼﻣﻴﺔ‬
.‫اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﻘﺎﻻت اﻟﻤﺘﺨﺼﺼﺔ ﺑﺎﻟﺘﺼﺎﻣﻴﻢ اﻟﻬﻨﺪﺳﻴﺔ ﻟﻠﻌﻤﺎرة ا@ﺳﻼﻣﻴﺔ‬
We Made Every Living Thing of Water
Oil and mixed media on canvas
75.5 x 63 cm, 1962
An architect, printmaker, painter and designer, Issam Al Said
dedicated his artistic practice to both to the craft of traditional
design and the incorporation of modern aesthetics. Despite
being the son of controversial Iraqi Prime Minister Nuri Al Said,
who dominated the nation’s politics from 1930-1958, Al Said
dedicated his life to the arts. His creative practice and personal
life were informed by the relationship between Muslim spirituality and the scientific principles inherent in Islamic arts. In the
painting entitled, We Made Every Living Thing of Water, the artist reflects on a quote from the Holy Quran referring to the creation of living beings consisting of mainly water.
Al Said studied architecture at Cambridge University from
1958 to 1961, during which time he created an emotionally
charged painting, The Head of Christ, after his father was
executed, and reportedly crucified, amid a purge in Iraq.
While studying for a doctorate on Methodology of Geometric
Proportioning in Islamic Architecture, Al Said passed away in
1988 at the age of 49. Although unfinished, segments of his
research were posthumously published in articles on Islamic
architecture geometric design.
RE: ORIENT 83
ShaKir haSSan al Said
‫ﺷﺎﻛــﺮ ﺣﺴــﻦ آل ﺳﻌﻴــﺪ‬
‫ﺟﺎﻣﻌﻴﺔ ﻓﻲ ﻋﻠﻢ اﻻﺟﺘﻤﺎع ﻣﻦ اﻟﻤﻌﻬﺪ اﻟﻌﺎﻟﻲ‬
‫ﺷﻬﺎدة‬
‫وﺣﺼﻞ آل ﺳﻌﻴﺪ ﻋﻠﻰ‬
ٍ
ٍ
‫ ﻛﻤﺎ درس‬.“‫ وأﺧﺮى ﻓﻲ اﻟﺮﺳﻢ ﻣﻦ ”ﻣﻌﻬﺪ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ‬،‫ﻟﻠﻤﻌﻠﻤﻴﻦ ﺑﺒﻐﺪاد‬
،“‫ و“اﻟﻤﺪرﺳﺔ اﻟﻮﻃﻨﻴﺔ اﻟﻌﻠﻴﺎ ﻟﻠﻔﻨﻮن اﻟﺰﺧﺮﻓﻴﺔ‬،“‫ﻻﺣﻘ ًﺎ ﻓﻲ ”أﻛﺎدﻳﻤﻴﺔ ﺟﻮﻟﻴﺎن‬
‫ واﺷﺘﺮك ﻣﻊ ﻣﻌﻠﻤﻪ اﻟﻔﻨﺎن اﻟﻌﺮاﻗﻲ اﻟﺸﻬﻴﺮ‬.‫و“ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ“ ﻓﻲ ﺑﺎرﻳﺲ‬
‫ وﻛﺎن آل‬.١٩٥١ ‫ﺟﻮاد ﺳﻠﻴﻢ ﻋﻠﻰ ﺗﺄﺳﻴﺲ ”ﺟﻤﺎﻋﺔ ﺑﻐﺪاد ﻟﻠﻔﻦ اﻟﺤﺪﻳﺚ“ ﻓﻲ ﻋﺎم‬
‫ﻋﺮاﻗﻲ‬
‫ﻓﻨﻲ‬
‫ ﻣﻦ ﺣﻴﺚ اﺑﺘﻜﺎر‬،‫ﺳﻌﻴﺪ ﻣﺼﺪر إﻟﻬﺎم اﻟﻌﺪﻳﺪ ﻣﻦ ﻓﻨﺎﻧﻲ ﺟﻴﻠﻪ‬
ٍ
‫ﻧﻤﻂ ﱟ‬
ٍ
،‫ وإﻟﻰ ﺟﺎﻧﺐ اﻟﻤﺬﻫﺐ اﻟﺼﻮﻓﻲ‬.‫آن ﻣﻌ ًﺎ‬
ٍ ‫ﻣﺘﻤﻴﺰ ﻳﺠﻤﻊ ﺑﻴﻦ اﻟﺤﺪاﺛﺔ واﻟﺘﻘﻠﻴﺪﻳﺔ ﻓﻲ‬
ّ
‫ﻣﺘﺠﺬرا ً ﻓﻲ اﻟﻔﻜﺮ اﻟﻐﺮﺑﻲ اﻟﺤﺪﻳﺚ ﺑﻤﺎ ﻓﻲ ذﻟﻚ‬
‫ﻛﺎن اﻟﻔﻦ اﻟﺬي ﻗﺪﻣﻪ آل ﺳﻌﻴﺪ‬
‫ وﻳﻠﻌﺐ‬.‫ واﻟﻈﺎﻫﺮﺗﻴﺔ واﻟﻮﺟﻮدﻳﺔ‬،‫ واﻟﺘﻔﻜﻴﻜﻴﺔ‬،‫ واﻟﺴﻴﻤﻴﺎﺋﻴﺔ‬،‫اﻟﻨﻈﺮﻳﺎت اﻟﺒﻨﻴﻮﻳﺔ‬
‫آل ﺳﻌﻴﺪ ﻓﻲ أﺳﻠﻮﺑﻪ اﻟﻔﻨﻲ ﻏﺎﻟﺒ ًﺎ ﻋﻠﻰ وﺗﻴﺮة ا@ﺣﺴﺎس ﺑﺎﻟﻮﻗﺖ ﻣﻦ ﺧﻼل ﺗﻘﺪﻳﻢ‬
‫ وﺗﻨﻄﻮي ﻓﻲ ﻣﻀﻤﻮﻧﻬﺎ ﻋﻠﻰ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻌﻨﺎﺻﺮ‬،‫ﺻﻮر ﺗﺒﺪو ﻗﺪﻳﻤﺔ ﻓﻲ ﻇﺎﻫﺮﻫﺎ‬
.‫اﻟﻔﻨﻴﺔ اﻟﻌﺼﺮﻳﺔ ﻣﺜﻞ أﺳﻠﻮب ”اﻟﺠﺮاﻓﻴﺘﻲ“ ورﺷﻘﺎت اﻟﻄﻼء‬
One of Iraq’s most-revered artists Shakir Hassan Al Said produced abstract artwork inspired by the principles of Islamic
Sufism. The Samawah-born artist regarded artistic expression
as an act of sacred contemplation, and he developed an art
philosophy known as Al Bua’d Al Wahid, or One Dimension, representing the area between the visible world and the invisible
realm of God. Al Said’s paintings and mixed-media works often
sought to give a glimpse into this dimension. He believed contemplating the glory of God caused the personal self to disintegrate into the eternal one.
Al Said pursued a degree in social sciences at the Higher Institute of Teachers in Baghdad and in painting from the Institute
of Fine Arts, later studying at Paris’ Académie Julien, the École
des Arts Décoratifs and the École Supérieure des Beaux-Arts.
Taught by prolific Iraqi artist Jewad Selim, both artists founded
Baghdad Modern Art group in 1951. Al Said inspired many artists
in his generation to create a distinct Iraqi style that was simultaneously modern and traditional. Other than Sufism, Al Said’s
art was rooted in Western modern thought, including structuralism, semiotics, deconstructionism, phenomenology and existentialist theory. His approach often toys with the sense of time,
appearing ancient while containing elements, such as graffiti
and splashes of paint, that bring it into the modern context.
A 1975 exhibition poster
of the One Dimension
group founded by Shakir
Hassan Al Said.
١٩٧٥ ‫ﻣﻠﺼﻖ ﺧﻼل ﻣﻌﺮض‬
‫ﻟﺠﻤﺎﻋﺔ ”اﻟﺒﻌﺪ اﻟﻮاﺣﺪ“ اﻟﺘﻲ‬
‫أﺳﺴﻬﺎ ﺷﺎﻛﺮ‬
.‫ﺣﺴﻦ آل ﺳﻌﻴﺪ‬
‫ واﺣﺪا ً ﻣﻦ أﻛﺜﺮ‬- ‫ اﻟﻤﻮﻟﻮد ﻓﻲ ﻣﺪﻳﻨﺔ اﻟﺴﻤﺎوة‬- ‫ﻳﻌﺘﺒﺮ ﺷﺎﻛﺮ ﺣﺴﻦ آل ﺳﻌﻴﺪ‬
ً
‫ وﻗﺪ أﻧﺘﺞ اﻟﻌﺪﻳﺪ ﻣﻦ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ اﻟﺘﺠﺮﻳﺪﻳﺔ‬،‫ﺷﻬﺮة وﺗﻘﺪﻳﺮا ً ﻓﻲ اﻟﻌﺮاق‬
‫اﻟﻔﻨﺎﻧﻴﻦ‬
ً‫ ورأى اﻟﻔﻨﺎن ﻓﻲ اﻟﺘﻌﺒﻴﺮ اﻟﻔﻨﻲ ﺷﻜﻼ‬.‫اﻟﻤﺴﺘﻮﺣﺎة ﻣﻦ ﻣﺒﺎدئ اﻟﺘﺼﻮف ا@ﺳﻼﻣﻲ‬
ً
ً
ً
‫ﺧﺎﺻﺔ ﺑﻪ ﻋﺮﻓﺖ ﺑﺎﺳﻢ‬
‫ﻓﻨﻴﺔ‬
‫ﻓﻠﺴﻔﺔ‬
‫اﻟﻤﻘﺪس؛ وﻃﻮر‬
‫ﻣﻦ أﺷﻜﺎل اﻟﺘﺄﻣﻞ‬
ّ
ّ
ّ
‫ وﻫﻲ ﺗﻤﺜﻞ اﻟﻔﻀﺎء اﻟﻮاﻗﻊ ﺑﻴﻦ اﻟﻌﺎﻟﻤﻴﻦ اﻟﻤﺮﺋﻲ واﻟﻼﻣﺮﺋﻲ ﻋﺰ‬،“‫”اﻟﺒﻌﺪ اﻟﻮاﺣﺪ‬
‫ وﺳﻌﻰ آل ﺳﻌﻴﺪ ﻣﻦ ﺧﻼل ﻟﻮﺣﺎﺗﻪ وأﻋﻤﺎﻟﻪ اﻟﻔﻨﻴﺔ اﻟﻤﺼﻨﻮﻋﺔ ﻣﻦ وﺳﺎﺋﻂ‬.‫وﺟﻞ‬
‫ ﺣﻴﺚ ﻛﺎن ﻳﺆﻣﻦ ﺑﺄن اﻟﺘﺄﻣﻞ ﻓﻲ ﻋﻈﻤﺔ‬،‫ﻣﺘﻌﺪدة إﻟﻰ ﺗﻘﺪﻳﻢ ﻟﻤﺤﺔ ﻋﻦ ﻫﺬا اﻟﺒﻌﺪ‬
.‫اﻟﺨﺎﻟﻖ ﻫﻮ ﻣﺎ ﻳﺆدي إﻟﻰ ﺗﻮﺣﺪ اﻟﺬات اﻟﻔﺮدﻳﺔ ﺑﺎﻟﺬات ا|ﺑﺪﻳﺔ‬
Samawah, Iraq, 1925-2004
Untitled, oil and plaster on board
66.5 x 56.5 cm, 1963
٢٠٠٤ – ١٩٢٥ ،‫ اﻟﻌﺮاق‬،‫اﻟﺴﻤﺎوة‬
‫ زﻳﺖ وﺟﺺ ﻋﻠﻰ اﻟﻮرق اﻟﻤﻘﻮى‬،‫ﺑﺪون ﻋﻨﻮان‬
١٩٦٣ ،‫ ﺳﻢ‬٥٦,٥ × ٦٦,٥
RE: ORIENT 85
wa l i d a l S h a m i
‫وﻟﻴﺪ اﻟﺸﺎﻣﻲ‬
١٩٤٩ ،‫ ﺳﻮرﻳﺎ‬،‫ﺣﻤﺺ‬
‫ ﻣﻮاد ﻣﺨﺘﻠﻔﺔ ﻋﻠﻰ ورق ﻣﻘﻮى‬،‫ﻣﺮﻳﻢ‬
١٩٧٢ ،‫ ﺳﻢ‬٧٤ × ٦٠
،‫ﺗﻤﺘﺪ ﺗﺠﺮﺑﺔ اﻟﻔﻨﺎن اﻟﺘﺸﻜﻴﻠﻲ اﻟﺴﻮري وﻟﻴﺪ اﻟﺸﺎﻣﻲ |ﻛﺜﺮ ﻣﻦ أرﺑﻌﻴﻦ ﻋﺎﻣ ًﺎ‬
‫اﺷﺘﻬﺮ ﺧﻼﻟﻬﺎ ﺑﺄﻋﻤﺎﻟﻪ اﻟﻔﻨﻴّﺔ اﻟﺘﻲ ﺗﺮﺻﺪ ﺟﻤﺎﻟﻴﺎت اﻟﻌﻤﺎرة اﻟﻘﺪﻳﻤﺔ ﻓﻲ ﻣﺴﻘﻂ‬
‫رأﺳﻪ ﺣﻤﺺ واﻟﻄﺒﻴﻌﺔ اﻟﺨﻠﻮﻳّﺔ ﻓﻲ رﻳﻔﻬﺎ اﻟﺴﺎﺣﺮ ﺑﺄﺳﻠﻮب ﻳﻤﺰج ﺑﻴﻦ اﻟﻮاﻗﻌﻴّﺔ‬
‫ ﻓﻲ ﻣﺮﻛﺰ ﺻﺒﺤﻲ ﺷﻌﻴﺐ ﻟﻠﻔﻨﻮن‬١٩٦٦ ‫ ﺑﺪأ اﻟﺸﺎﻣﻲ دراﺳﺘﻪ اﻟﻔﻨﻴّﺔ ﻋﺎم‬.‫واﻟﺨﻴﺎﻟﻴّﺔ‬
‫ ﺛﻢ ﺗﺎﺑﻌﻬﺎ ﻓﻲ ﻣﺤﺘﺮﻓﺎت ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ‬،‫اﻟﺘﺸﻜﻴﻠﻴّﺔ ﺑﻤﺴﻘﻂ رأﺳﻪ‬
‫ وﻛﺎن ﺻﺎﺣﺐ أول‬،١٩٧٥ ‫ﺑﺠﺎﻣﻌﺔ دﻣﺸﻖ وﺗﺨﺮج ﻓﻲ ﺷﻌﺒﺔ اﻟﺤﻔﺮ واﻟﻄﺒﺎﻋﺔ ﻋﺎم‬
.١٩٧٣ ‫ﻣﻌﺮض ﻓﻲ اﻟﻬﻮاء اﻟﻄﻠﻖ ﻓﻲ ﺳﻮرﻳﺎ ﻋﺎم‬
‫وﺗﺘﺠﻠﻰ ﻣﻬﺎرة اﻟﺼﻨﻌﺔ ﻟﺪى اﻟﺸﺎﻣﻲ ﻋﻠﻰ أﻛﻤﻞ وﺟﻪ ﻓﻲ ﻟﻮﺣﺔ ”ﻣﺮﻳﻢ“ اﻟﺘﻲ‬
‫ ﻓﺈﻟﻰ ﺟﺎﻧﺐ وﻟﻌﻪ ﺑﺎﻟﻌﻤﺎرة وﺗﻔﺎﺻﻴﻞ اﻟﺤﻴﺎة ﻓﻲ ﻣﺪﻳﻨﺘﻪ‬.١٩٧٢ ‫رﺳﻤﻬﺎ ﻋﺎم‬
‫ أدﺧﻞ اﻟﺸﺎﻣﻲ اﻟﻮﺟﻪ ا|ﻧﺜﻮي اﻟﺼﺒﻮح ﻋﻠﻰ ﻟﻮﺣﺎﺗﻪ ﻣﻨﺬ ﺳﺒﻌﻴﻨﻴﺎت اﻟﻘﺮن‬،‫ﺣﻤﺺ‬
‫ ﻳﻠﺠﺄ اﻟﺸﺎﻣﻲ إﻟﻰ ﺗﻨﺴﻴﻖ ﻣﻔﺮداﺗﻪ ﻓﻲ‬،“‫ وﻓﻲ ﻟﻮﺣﺔ ”ﻣﺮﻳﻢ‬.‫اﻟﻤﺎﺿﻲ وﺣﺘﻰ اﻟﻴﻮم‬
‫ ﻓﺈن اﻟﻮﺟﻪ ا|ﻧﺜﻮي اﻟﻤﺆﻃﺮ ﺑﻌﺮﻳﺶ ﻣﻦ ا|وراق‬،‫ وﻣﻊ ذﻟﻚ‬.‫ﻗﻮاﻟﺐ ﻟﻮﻧﻴﺔ ﻣﺤﺪدة‬
‫ |ن اﻟﺸﺎﻣﻲ ﻳﻠﻮذ‬،‫ ﻫﻮ ﻣﺎ ﻳﺴﺘﺤﻮذ ﻋﻠﻰ ﺗﺮﻛﻴﺰ اﻟﻨﺎﻇﺮ‬،‫واﻟﻤﺤﺮوس ﺑﻌﺼﻔﻮرﻳﻦ‬
.‫ﺑﺒﺴﺎﻃﺔ اﻟﺨﻂ @ﺑﺮاز دﻗﺔ اﻟﺘﻌﺒﻴﺮ ﻋﻠﻰ ﻗﺴﻤﺎت اﻟﻮﺟﻮه اﻟﻤﺒﺎﻟﻎ ﻓﻲ ﺗﺼﻮﻳﺮﻫﺎ‬
‫ وﻫﻮ ﻣﻘﻴﻢ ﺣﺎﻟﻴ ًﺎ ﻓﻲ‬،‫وﻳﻌﺮف ﻋﻦ اﻟﺸﺎﻣﻲ أﻧﻪ ﻣﺼﻮر ﻓﻮﺗﻮﻏﺮاﻓﻲ ﻣﺘﻤﺮس‬
.‫ ﺣﻴﺚ ﻳﻮاﺻﻞ إﻧﺘﺎﺟﻪ اﻟﻔﻨﻲ وﻋﺮض أﻋﻤﺎﻟﻪ‬،‫ا@ﻣﺎرات‬
Homs, Syria, 1949
Maryam, mixed media on board
60 x 74 cm, 1972
The career of artist Walid Al Shami has spanned 40 prolific
years, during which time he has become recognised for paintings that depict in real and fantastical imagery his hometown
of Homs, Syria. Al Shami began his studies in 1966 at the Subhi
Shoeib Center for the Plastic Arts before continuing his training
at Damascus University, where he graduated from the Printing
and Etching division in 1975. He was the first artist to exhibit in
the open air in Syria in 1973.
The 1972 painting, Maryam, is emblematic of Al Shami’s practice. In addition to his interest in depicting the architecture and
city life of Homs, Al Shami has continually returned to the motif
of the female figure since the early 1970s. In Maryam, Al Shami
organises the composition through blocks of colour. Yet it is the
female figure, framed by an arbor of leaves and in the company
of two birds, that dominates the image and captures the viewer’s gaze. Through exaggerated facial features, Al Shami uses
the simplicity of line to convey an intensity of expression.
Also a trained photographer, Al Shami currently resides
in the United Arab Emirates, where he continues to
practice and exhibit.
RE: ORIENT 87
S e i F wa n ly
‫ﺳﻴــﻒ واﻧـــﻠﻲ‬
١٩٧٩ – ١٩٠٨ ،‫ ﻣﺼﺮ‬،‫ا@ﺳﻜﻨﺪرﻳﺔ‬
‫ أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﺨﺸﺐ‬،‫ﻣﻮﺳﻴﻘﻰ ﻫﺎدﺋﺔ‬
١٩٥٣ ،‫ ﺳﻢ‬٧١ × ٥٨,٥
‫ وﺗﺪرب ﺑﻨﻔﺴﻪ‬،‫وﻟﺪ ﺳﻴﻒ واﻧﻠﻲ ﻓﻲ ا@ﺳﻜﻨﺪرﻳﺔ ﻟﻌﺎﺋﻠﺔ ﻣﺼﺮﻳﺔ أرﺳﺘﻘﺮاﻃﻴﺔ‬
‫ﻋﻠﻰ ﻓﻦ اﻟﺮﺳﻢ؛ وﻫﻮ ﻳﻮﻇﻒ ﻓﻲ ﻟﻮﺣﺎﺗﻪ ﻧﻤﻄ ًﺎ ﻣﻤﻴّﺰا ً ﻣﻦ ا|ﻟﻮان اﻟﺰاﻫﻴﺔ‬
‫ ﻣﻊ‬،‫وا|ﺷﻜﺎل واﻟﺘﺮاﻛﻴﺐ اﻟﻔﻨﻴﺔ اﻟﺘﻲ ﺗﻤﺰج ﺑﻴﻦ ﻫﻨﺪﺳﺔ ا|ﺷﻜﺎل اﻟﻤﺒﺴﻄﺔ‬
‫ وﻧﺠﺪ ﻓﻲ ﻟﻮﺣﺎت واﻧﻠﻲ ﺷﺨﻮﺻ ًﺎ‬.‫ﺗﺄﺛﻴﺮات اﻟﻤﺪرﺳﺘﻴﻦ اﻟﺘﻜﻌﻴﺒﻴﺔ واﻟﻤﺴﺘﻘﺒﻠﻴﺔ‬
‫ﺑﺈﻳﻤﺎءات ذاﺗﻴﺔ ﻣﻨﻌﺰﻟﺔ ﻋﻦ وﺗﻴﺮة اﻟﺤﻴﺎة؛ ورﻏﻢ رﺻﺪه اﻟﻌﺮوض ا|داﺋﻴﺔ اﻟﺘﺮﻓﻴﻬﻴﺔ‬
‫ ﻛﻤﺎ ﻓﻲ‬،‫واﻟﻤﺴﺮﺣﻴﺔ واﻟﻤﻮﺳﻴﻘﻴﺔ اﻟﺤﻴﺔ ﻣﺜﻞ ﻋﺮوض اﻟﺴﻴﺮك اﻟﻤﺘﻨﻘﻞ واﻟﺒﺎﻟﻴﻪ‬
‫ ﻏﻴﺮ أن واﻧﻠﻲ رﻛﺰ ﺑﺸﻜﻞ رﺋﻴﺴﻲ ﻋﻠﻰ ﺗﺼﻮﻳﺮ‬،(١٩٦٠- ١٩٥٨) “‫ﻟﻮﺣﺔ ”اﻟﺒﺎﻟﻴﻪ اﻟﺮوﺳﻲ‬
‫( اﻟﺘﻲ ﻳﺴﺘﻜﺸﻒ ﻣﻦ‬١٩٥٧) “‫واﻗﻊ اﻟﺤﻴﺎة اﻟﻴﻮﻣﻴﺔ ﻛﻤﺎ ﻓﻲ ﻟﻮﺣﺘﻪ ”ا|م واﻟﻄﻔﻞ‬
‫( اﻟﺘﻲ‬١٩٥٣) “‫ ﺑﺎ@ﺿﺎﻓﺔ إﻟﻰ ﻟﻮﺣﺔ ”ﻣﻮﺳﻴﻘﻰ ﻫﺎدﺋﺔ‬،‫ﺧﻼﻟﻬﺎ ﻋﻼﻗﺔ ا|ﻣﻮﻣﺔ اﻟﺤﻤﻴﻤﺔ‬
.‫وﺣﻴﺪ ﻳﻜﺎد ﻳﻐﻔﻮ ﻓﻮق ﻋﺮﺑﺘﻪ اﻟﺘﻲ ﻳﺠﺮﻫﺎ ﺣﺼﺎن‬
‫ﻟﺴﺎﺋﻖ‬
‫ﺗﺠﺴﺪ ﻣﺸﻬﺪا ً ﺗﺄﻣﻠﻴ ًﺎ‬
ٍ
ٍ
‫ اﺳﺘﻮدﻳﻮ ﻓﻨﻲ ﻓﻲ‬،‫ أﺳﺲ واﻧﻠﻲ ﻣﻊ أﺧﻴﻪ أدﻫﻢ‬،‫وﻓﻲ أرﺑﻌﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ‬
‫ وﺳﺎﻓﺮ ﻓﻲ أواﺧﺮ‬.‫اﻟﻘﺎﻫﺮة ﻛﺎن ﻣﻘﺼﺪا ً ﻟﻌﺎﻣﺔ اﻟﻨﺎس وﺟﻤﻴﻊ اﻟﻤﻬﺘﻤﻴﻦ ﺑﺎﻟﻔﻨﻮن‬
‫اﻟﺨﻤﺴﻴﻨﻴﺎت إﻟﻰ إﻗﻠﻴﻢ اﻟﻨﻮﺑﺔ @ﻧﺘﺎج ﺳﻠﺴﻠﺔ ﻣﻦ اﻟﻠﻮﺣﺎت واﻟﺮﺳﻮﻣﺎت اﻟﺘﻲ‬
‫ﺗﺼﻮر ﻣﻌﺎﻟﻢ اﻟﺤﻴﺎة ﻓﻲ ﻣﺼﺮ اﻟﻌﻠﻴﺎ؛ وذﻟﻚ ﻓﻲ إﻃﺎر ﻣﺸﺮوع ﺣﻜﻮﻣﻲ ﻳﻬﺪف إﻟﻰ‬
‫ﺗﻮﺛﻴﻖ اﻟﺤﺎﻟﺔ اﻟﺜﻘﺎﻓﻴﺔ وا|وﺿﺎع اﻟﺴﺎﺋﺪة ﻫﻨﺎك ﻗﺒﻞ ﻋﻤﻠﻴﺔ إﻋﺎدة اﻟﺘﻮﻃﻴﻦ إﺛﺮ‬
.‫ﺑﻨﺎء اﻟﺴﺪ اﻟﻌﺎﻟﻲ ﻓﻲ أﺳﻮان‬
Alexandria, Egypt, 1908-1979
Nocturne, oil on panel
58.5 x 71 cm, 1953
Employing a distinct style of bright colours, form and composition, the paintings of Seif Wanly blend the geometry of
simplified shapes with Futurist and Cubist influences. Born in
Alexandria into an aristocratic Egyptian family, Wanly was privately tutored in art. In his portraits we find characters in selfreflective gestures detached from the pace of life. While some
of his paintings capture live entertainment, theatre and musical
performances such as travelling circuses and ballets, as seen in
Russian Ballet (1958-60), Wanly’s primary concentration was to
depict daily life. In Mother and Child (1957), he explores maternal intimacy, while Nocturne (1953) features a reflective scene
of a solitary driver dozing on his a horse drawn taxi.
The artist established an art studio in Cairo in the 1940s with
his brother Adham Wanly that was open to the public and anyone interested in the arts. In the late 1950s, Wanly travelled to
Nubia to produce a series of paintings and drawings portraying life in Upper Egypt for a governmental project to document
culture and conditions prior to the relocation that occurred to
enable construction of the Aswan High Dam.
RE: ORIENT 89
‫‪S e i F wa n ly‬‬
‫ﺳﻴــﻒ واﻧــﻠﻲ‬
‫‪Mother and child, oil on board‬‬
‫‪72 x 75.2 cm, 1957‬‬
‫ام واﻟﻄﻔﻞ‪ ،‬أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻮرق اﻟﻤﻘﻮى‬
‫‪ ٧٥,٢ × ٧٢‬ﺳﻢ‪١٩٥٧ ،‬‬
‫‪S e i F wa n ly‬‬
‫ﺳﻴــﻒ واﻧــﻠﻲ‬
‫‪The Russian Ballet, oil on board‬‬
‫‪30 x 41 cm, 1967‬‬
‫اﻟﺒﺎﻟﻴﻪ اﻟﺮوﺳﻲ‪ ،‬أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ اﻟﻮرق اﻟﻤﻘﻮى‬
‫‪ ٤١ × ٣٠‬ﺳﻢ‪١٩٦٧ ،‬‬
‫‪n a S h a’a t a l z u a b y‬‬
‫ﻧﺸــــﺄت اﻟﺰﻋﺒﻲ‬
‫‪Hama, Syria, 1939‬‬
‫‪The Bathers, oil on canvas‬‬
‫‪150.8 × 217 cm, 1964‬‬
‫‪Nasha’at Al Zuaby realises the world spiritually and contem‬‬‫‪plates it with extreme tranquillity, aspiring his conscience to‬‬
‫‪recognise only the essence of matters, and then starts painting‬‬
‫‪when this overall scene completely vanishes from his memory.‬‬
‫‪The artist tries to re-shape the world through the impact of‬‬
‫‪memory without any direct simulation. He achieves works that‬‬
‫‪are emotionally charged within an optical composition‬‬
‫‪that doesn’t focus on tiny details, instead capturing his‬‬
‫‪interest in depicting the beauty of the scene’s spiri‬‬‫‪tual and emotional aspects.‬‬
‫‪Photo courtesy of the artist.‬‬
‫اﻟﺼﻮرة ﻣﻘﺪﻣﺔ ﻣﻦ اﻟﻔﻨﺎن‪.‬‬
‫’‪As part of his graduation project from Damascus‬‬
‫‪Faculty of Fine Arts in 1964, Al Zuaby created the‬‬
‫‪piece featured here, The Bathers, which throws light‬‬
‫‪on underground baths in his Syrian hometown Hama,‬‬
‫‪where soft light penetrates from the thick crystal domes and‬‬
‫‪blends with the water fumes. The artist tackles the scene‬‬
‫‪employing a solid academic approach and uses graceful lines,‬‬
‫‪along with a unique palette of fresh colours, to embody his‬‬
‫‪main objective: washing the spirits rather than the bodies.‬‬
‫‪After Damascus, Al Zuaby studied oil painting in Cairo, and‬‬
‫‪helped establish the Fine Arts Association and Arab Artists‬‬
‫‪Federation. His artworks have been featured in many museums‬‬
‫‪and private art collections.‬‬
‫ﺣﻤﺎة‪ ،‬ﺳﻮرﻳﺔ‪1939 ،‬‬
‫اﻟﻤﺴﺘﺤﻤﻮن‪ ،‬أﻟﻮان زﻳﺘﻴﺔ ﻋﻠﻰ ﻗﻤﺎش‬
‫‪ 217 × 150,٨‬ﺳﻢ‪1964 ،‬‬
‫ﻳﺘﻠﻘﻒ اﻟﻔﻨﺎن ﻧﺸﺄت اﻟﺰﻋﺒﻲ اﻟﻌﺎﻟﻢ ﺑﺮوﺣﻪ‪ ،‬ﻳﺘﺄﻣﻠﻪ ﺑﻬﺪوء‪ ،‬وﻛﺄﻧﻤﺎ ﻳﺮﻳﺪ أن ﻳﺮﺷﺢ‬
‫إﻟﻰ وﺟﺪاﻧﻪ ﻣﺎ ﻫﻮ ﺟﻮﻫﺮي ﻓﻘﻂ‪ ،‬ﺛﻢ ﻳﻨﺘﻈﺮ ﺣﺘﻰ ﻳﻐﻴﺐ اﻟﻤﺸﻬﺪ ﻋﻦ ذاﻛﺮﺗﻪ ﺗﻤﺎﻣ ًﺎ‪،‬‬
‫ﻟﻴﺒﺪأ ﺑﺎﻟﺮﺳﻢ‪ .‬ﺗﻠﻚ ﻫﻲ اﻟﻴﺔ اﻟﺘﻲ ﻳﺘﻌﺎﻣﻞ ﺑﻬﺎ اﻟﻔﻨﺎن ﻣﻊ ﻧﺘﺎﺟﻪ ا@ﺑﺪاﻋﻲ‪ ،‬إذ ﻳﻌﻴﺪ‬
‫ﺻﻴﺎﻏﺔ اﻟﻌﺎﻟﻢ ﻋﻠﻰ ﻃﺮﻳﻘﺘﻪ ﻣﻦ ﺧﺒﺎﻳﺎ اﻟﺬاﻛﺮة وﻟﻴﺲ ﻋﺒﺮ اﻟﻤﺤﺎﻛﺎة اﻟﻤﺒﺎﺷﺮة‪،‬‬
‫ﻓﺘﺄﺗﻲ أﻋﻤﺎﻟﻪ ﻣﺸﺤﻮﻧﺔ ﺑﻄﺎﻗﺔ اﻧﻔﻌﺎﻟﻴﺔ وﻋﺎﻃﻔﻴﺔ ﻛﺒﻴﺮة‪ ،‬ﻓﻲ ﺑﻨﺎء ﺑﺼﺮي ﻣﺘﻴﻦ‬
‫ﻻ ﻳﺄﺑﻪ ﺑﺎﻟﺘﻔﺎﺻﻴﻞ اﻟﺼﻐﻴﺮة وﻣﻨﻈﻮر ا|ﺷﻴﺎء‪ ،‬ﺑﻘﺪر اﻫﺘﻤﺎﻣﻪ ﺑﺠﻤﺎﻟﻴﺔ اﻟﻤﺸﻬﺪ‬
‫وﺟﻮاﻧﺒﻪ اﻟﺮوﺣﻴﺔ واﻟﻮﺟﺪاﻧﻴﺔ‪.‬‬
‫وﻗﺪ اﺗﺴﻤﺖ ﺗﺠﺮﺑﺔ اﻟﻔﻨﺎن اﻟﺰﻋﺒﻲ ﺑﻘﻮة اﻟﺘﺼﻮﻳﺮ وﺑﺤﺴﺎﺳﻴﺔ‬
‫ﻏﺮاﻓﻴﻜﻴﺔ وﻟﻮﻧﻴﺔ ﻋﺎﻟﻴﺔ‪ ،‬اﻋﺘﻤﺪت ﻓﻲ ﺑﻨﺎﺋﻬﺎ ﻋﻠﻰ اﻟﺘﻨﺎﻏﻢ ﻓﻲ‬
‫اﻟﺸﻜﻞ واﻟﻀﻮء واﻟﻠﻮن‪ .‬ﻳﻌﺎﻟﺞ ﻋﻤﻞ ”اﻟﻤﺴﺘﺤﻤﻮن“ اﻟﺬي أﻧﺘﺠﻪ‬
‫اﻟﻔﻨﺎن ﺿﻤﻦ ﻣﺸﺮوع ﺗﺨﺮﺟﻪ ﻣﻦ ﻛﻠﻴﺔ اﻟﻔﻨﻮن ﻋﺎم ‪ ،1964‬ﻣﻮﺿﻮع‬
‫ﺣﻤﺎﻣﺎت ﺣﻤﺎة اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﻘﺒﻊ ﺗﺤﺖ ا|رض‪ ،‬وﻛﺎن ﻳﻤﺘﺰج ﻓﻴﻬﺎ‬
‫اﻟﻀﻮء اﻟﺨﻔﻴﻒ اﻟﺬي ﻳﺘﺴﺮب ﻣﻦ ﻗﺒﺎب اﻟﺒﻠﻮر اﻟﺴﻤﻴﻜﺔ ﻣﻊ أﺑﺨﺮة‬
‫اﻟﻤﺎء‪ ،‬وﻗﺪ ﺗﻨﺎوﻟﻬﺎ اﻟﻔﻨﺎن ﺑﺄﺳﻠﻮب أﻛﺎدﻳﻤﻲ ﻣﺘﻴﻦ‪ ،‬وﺑﺨﻄﻮط رﺷﻴﻘﺔ وأﻟﻮان‬
‫ﻣﺸﺮﻗﺔ وﻛﺄﻧﻤﺎ ﻧﺠﺤﺖ ﺑﺘﺼﻮﻳﺮ ﻣﺎ ﻳﺮﻳﺪه اﻟﻔﻨﺎن‪ ،‬وﻫﻮ ﻏﺴﻞ ا|رواح وﻟﻴﺲ ا|ﺑﺪان‪.‬‬
‫أﻣﺎ ﻟﻮﺣﺔ ”وﻻدة ﻟﺤﻦ“ اﻟﺘﻲ رﺳﻤﻬﺎ ﻋﺎم ‪ ،1991‬ﻓﻴﺼﻔﻬﺎ اﻟﻔﻨﺎن ﺑﻘﻮﻟﻪ‪” :‬اﺳﺘﺤﻀﺮ‬
‫إﻧﺴﺎﻧ ًﺎ ﺑﻮﺿﻊ ﻧﺼﺒﻲ ﻳﺘﻮﺳﻂ اﻟﻘﺴﻢ ا|ﻋﻠﻰ ﻣﻦ اﻟﻠﻮﺣﺔ‪ ،‬وﻫﻮ ﻳﻬﺘﻢ ﺑﺼﻴﺎﻏﺔ‬
‫ﻟﺤﻦ ﻋﻦ ا|رض اﻟﺘﻲ ﺗﺤﻴﻂ ﺑﻪ‪ ،‬وﻣﺎ ﻳﺪور ﻓﻴﻬﺎ‪ ،‬وﺑﻴﻦ أﺷﺨﺎﺻﻬﺎ ﻣﻦ أﺣﺎدﻳﺚ‪ ..‬ﺗﻠﻚ‬
‫ا|رض ﻫﻲ ﻣﺎ أﺣﺒﺒﺖ داﺋﻤ ًﺎ‪ ..‬ﻣﺸﺎﻫﺪ وﻣﻄﺎرح ﻫﻲ ﻓﻲ اﻟﺤﻘﻴﻘﺔ ﻣﺮاﺑﻊ ا|ﺣﻼم‬
‫واﻟﺬاﻛﺮة ﺑﻞ ﻫﻲ ﺗﺮاب اﻟﺮوح“‪ .‬ﺑﺪأ اﻟﺰﻋﺒﻲ دراﺳﺔ اﻟﺘﺼﻮﻳﺮ اﻟﺰﻳﺘﻲ ﻓﻲ اﻟﻘﺎﻫﺮة‪ ،‬وﺗﺨﺮج‬
‫ﻋﺎم ‪ 1964‬ﻓﻲ ﻛﻠﻴﺔ اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ ﺑﺪﻣﺸﻖ‪ ،‬ﺣﻴﺚ ﺳﺎﻫﻢ ﻓﻲ ﺗﺄﺳﻴﺲ ﻧﻘﺎﺑﺔ‬
‫اﻟﻔﻨﻮن اﻟﺠﻤﻴﻠﺔ واﺗﺤﺎد اﻟﻔﻨﺎﻧﻴﻦ اﻟﻌﺮب‪ .‬أﻋﻤﺎﻟﻪ ﻣﻘﺘﻨﺎة ﻟﺪى اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻤﺘﺎﺣﻒ‬
‫واﻟﻤﺠﻤﻮﻋﺎت اﻟﻔﻨﻴﺔ اﻟﺨﺎﺻﺔ‪.‬‬
PreViouS PubliCationS
‫اﻟﻤﻄﺒﻮﻋﺎت اﻟﺴﺎﺑﻘﺔ‬
& :‫اﻟﻤﻌﺮض‬
٢٠١٣ ،‫ ﻧﻮﻓﻤﺒﺮ‬٢٢ - ‫ ﻣﺎرس‬١١ :‫اﻟﺘﺎرﻳﺦ‬
٩٧٨-١-٩٠٧٠٥١-٢٦-٥ :‫اﻟﺮﻗﻢ اﻟﺪوﻟﻲ اﻟﻤﻮﺣﺪ ﻟﻠﻜﺘﺎب‬
Art Advisory Associates Ltd :‫اﻟﻨﺎﺷﺮ‬
Exhibition: Re: Orient
Dates: March 11 – November 22, 2013
ISBN 978-1-907051-26-5
Publisher: Art Advisory Associates Ltd.
‫ اﻏﺘﺮاب‬:‫اﻟﻤﻌﺮض‬
٢٠١٢ ‫ دﻳﺴﻤﺒﺮ‬٢٢ – ‫ ﻣﺎرس‬٢٤ :‫اﻟﺘﺎرﻳﺦ‬
٩٧٨-١-٩٠٧٠٥١-١٨-٠ :‫اﻟﺮﻗﻢ اﻟﺪوﻟﻲ اﻟﻤﻮﺣﺪ ﻟﻠﻜﺘﺎب‬
Art Advisory Associates Ltd :‫اﻟﻨﺎﺷﺮ‬
Exhibition: Alienation
Dates: March 24 – December 22, 2012
ISBN: 978-1-907051-18-0
Publisher: Art Advisory Associates Ltd.
‫ اﻟﻘﺎﻓﻠﺔ‬:‫اﻟﻤﻌﺮض‬
٢٠١٢ ‫ ﻓﺒﺮاﻳﺮ‬٢٢ – ٢٠١١ ‫ أﻛﺘﻮﺑﺮ‬١٤ :‫اﻟﺘﺎرﻳﺦ‬
‫ ﻏﻴﺮ ﻣﺘﻮﻓﺮ‬:‫اﻟﺮﻗﻢ اﻟﺪوﻟﻲ اﻟﻤﻮﺣﺪ ﻟﻠﻜﺘﺎب‬
Exhibition: Caravan
Dates: October 14 2011 – February 22, 2012
ISBN: N/A
RE: ORIENT 97

investigating modernism in the arab world

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